BY 
CONSTANCE  D.  MACKAY 


THE  HOUSE  OF  THE  HEART 

THE  SILVER  THREAD 

PATRIOTIC  PLAYS  AND  PAGEANTS 

HOW  TO  PRODUCE  CHILDREN'S  PLAYS 

THE  BEAU  OF  BATH 

COSTUMES  AND  SCENERY  FOR  AMATEURS 

THE  FOREST  PRINCESS 

THE  LITTLE  THEATRE  IN  AMERICA 

PATRIOTIC  DRAMA  IN  YOUR  TOWN 

FRANKLIN 


Color-Tone,  engraved  for  THE  CENTURY,  by  H.  Davidson. 
THE    YOUTHFUL    FRANKLIN 

FROM  THE  STATUE  BY  R.    TAIT  MCKENZIE 

On  the  Campus  of  the  University  of  Pennsylvania. 

Reproduced  by  courtesy  of  the  sculptor  and  of  The  Century. 


FRANKLIN 


BY 

CONSTANCE  D'ARCY  MACKAY 


NEW  YORK 

HENRY  HOLT  AND  COMPANY 
1922 


COPYRIGHT,  1921,  BY  C.  D.  MACKAY 
ALL  RIGHTS  RESERVED 

Including  stage  and  platform  rights  and  the  right 
of  translation  into  foreign  languages,  including  the 
Scandinavian. 

,  This  play  Franklin  has  been  duly  copyrighted  in  the 
United  States  of  America,  The  Dominion  of  Canada, 
and  in  all  countries  of  the  copyright  union. 

No  performance,  amateur  or  professional,  can  legally 
be  given  without  permission  first  obtained  from  the 
author  and  payment  of  royalty.  Infringement  of  copy 
right  involves  liability  to  prosecution  by  law. 

No  public  reading  of  this  play  for  money  can  legally 
be  given  without  permission  first  obtained  from  the 
author. 

To  obtain  such  permission  communication  should 
be  made  with  the  author  direct,  in  care  of  the  pub 
lishers. 


PREFACE 

In  this  play  of  Franklin  the  aim  has  been  to  give 
a  picture  of  the  man  while  keeping  as  close  to  his 
torical  data  as  possible.  All  of  the  events  in  the  play 
have  a  foundation  of  fact,  and  all  of  the  characters 
save  Bretelle  had  their  counterparts  in  Franklin's  life: 
Bretelle  represents  an  epitome  of  the  forces  against 
which  Franklin  strove — the  meanness,  the  spying,  the 
trickery  with  which  he  had  to  contend. 

But  dramatic  exigency  sometimes  makes  it  necessary, 
on  occasion,  to  temper  fact  with  fancy,  and  in,  the 
sequence  of  events,  story-cohesion  has  necessitated  cer 
tain  slight  changes.  Actions  covering  a  longer  period 
of  years  have  had  to  be  compressed  into  a  few  years' 
time.  An  instance  of  this  is  Deborah  Read's  marriage 
to  Aaron  Rogers.  Mystery  has  surrounded,  and  al 
ways  will  surround  this  particular  episode,  and  here 
the  dramatist  may  perhaps  be  pardoned  for  supplying 
a  motive.  Again,  in  the  matter  of  secret  diplomacy 
the  content  and  effect  of  the  de  Weissenstein  letter 
has  been  heightened  to  make  possible  a  climax.  (See 
Notes  on  Historic  Sources,  page  188) .  Every  one  who 
has  delved  in  the  archives  knows  how  matters  stood 
before  the  French  Treaty  was  signed.  "It  was  then 
that  Franklin  quietly  drew  from  his  pocket  a  piece 
of  paper  stating  an  unexpected  counter-claim,  so  cogent, 


486832 


IV 


PREFACE 


and  of  such  kind  that,  rather  than  face  it  or  dispute 
it,  the  English  commissioners  gave  up  their  point  at 
once.  ...  On  the  day  following  this  masterly  stroke 
the  preliminary  treaty  was  signed,  sealed  and  deliv 
ered." 

Those  wishing  to  follow  the  part  which  "secret  doc 
uments"  played  in  the  negotiations  can  read  of  the 
matter  in  full  in  the  Diplomatic  Correspondence;  in 
the  volumes  by  Hale,  and  Parton,  and  in  a  fascinating 
study  in  Everyman's  Library ,  edited  by  Ernest  Rhys; 
while  the  prankish  side  of  Franklin's  statesmanship  is 
quaintly  revealed  in  the  Letters  of  Junius  by  Benjamin 
Waterhouse.  (See  Notes  on  Historic  Sources,  page 
190.) 

As  to  the  American  Revolution — is  it  not  now  be 
ing  reinterpreted  by  students  of  history,  who  see  in  a 
new  light  the  curious  phenomena  of  a  German  king 
on  the  throne  of  England  defying  the  gallant  pro- 
Americanism  of  such  great  Englishmen  as  Chatham 
and  Fox  in  order  to  subdue  through  Brunswickian 
military  measures  a  country  whose  citizens  were  mainly 
of  British  blood,  a  state  of  affairs  referred  to  by  Frank 
lin  himself  as  "an  Edict  by  the  King  of  Prussia." 

On  the  stage  side  of  practical  simplification  for  what 
may  at  first  seem  to  be  a  highly  elaborate  production 
the  reader  is  referred  to  the  final  chapter  on  staging. 
The  cast  is  of  necessity  a  lengthy  one,  but  it  is  pos 
sible  by  duplication  of  characters  to  give  it  with  a 
much  smaller  number.  Suggestions  along  these  lines 
are  made  on  page  195. 


FRANKLIN 

(A  Play  in  Four  Acts) 


SYNOPSIS  OF  SCENES 

ACT  I:  Keimer's  Printing  Press,  Philadelphia,  1723. 
ACT  II:  The  Same.  A  Year  and  a  half  Later. 
ACT  III:  Franklin's  House  in  Philadelphia,  1764. 
ACT  IV,  SCENE  I:  Franklin's  Hotel  at  Passy,  1778. 
ACT  IV,  SCENE  II:  Hall  des  Ambassadeurs,  Ver 
sailles,  a  Week  Later. 


CHARACTERS 

POTTS        1 

AUSTIN       V  Printers 

BRETELLE  J 

SAMUEL  KEIMER 

DEBORAH  READ 

AARON  ROGERS 

BENJAMIN  FRANKLIN 

GREENIE,  a  Printer's  Apprentice 

SIR  WILLIAM  KEITH 

A  WOMAN 

MR.  KNOX  1 

MR.  ANDREWS  I  Members  of  the  Philadelphia 

MR.  BRAITHWAITE    f  Assembly 

MR.  MURRAY 

RICHARD  AUSTIN 

LETITIA  BRAITHWAITE 

LORD  ROCKMINSTER 

PARTON,  a  Servant 

COUNTESS  DE  SARNAC 

DUCHESS  DE  CLEARY 

MR.  BRADLEY,  American  Messenger 

LORD  STORMOUNT,  British  Ambassador 

MONS.  GERARD,  Secretary  of  the  King's  Council 

COUNT  DE  VERGENNES 

Citizens  of   Philadelphia,   people  of   the   court  of 
France,  savants,  diplomats,  lackeys,  etc.,  etc. 


FRANKLIN 
ACT  I 

Scene:  Keimers  printing  press  in  Philadelphia,  1723. 
A  darkish  room  below  the  level  of  the  street,  with 
walls  that  are  dingy  and  smoke-stained.  In  center 
background  a  door  giving  on  the  street,  with  smudged 
windows  each  side  of  it.  In  left  background  a  stone 
hearth  with  a  wide  mouthed  chimney.  Bellows;  a 
hearth  broom;  a  kettle;  a  long-handled  warming  pan; 
wood  for  replenishing  the  fire.  Near  hearth  a  three- 
legged  stool.  Above  the  hearth  a  shelf  with  pewter 
candlesticks,  some  single,  and  some  branched.  At  left, 
up  stage,  a  door  reached  by  three  steps.  It  leads  into 
Keimers  house.  At  left,  down  stage,  a  counter  with 
packages  of  paper,  printed  paper  and  books.  Behind 
the  counter  a  chair.  Behind  this  •a  wig  and  coat. 
Right  down  stage,  a  wooden  bench.  On  it  a  litter  of 
ink  balls,  paper,  a  printing  frame.  Further  up  the 
printing  press.  Near  it  a  stand  for  setting  type. 
Mufflers  and  battered  hats  hang  on  the  wall  behind 
it.  Pale  Autumn  sunlight  comes  through  the  windows. 
During  the  scene  it  fades  from  the  rose  of  sunset  to 
the  gray  of  dusk,  and  from  that  to  the  black  of  night. 
Throughout  the  scene  a  fire  smolders  on  the  hearth. 

7 


8  FRANKLIN 

At  Rise:  Three  printers  are  seen  at  "work.  Potts 
is  blond  and  lankish.  Austin  is  wiry  and  dark.  He 
appears  to  be  about  five  and  twenty.  Bretelle  is  a 
young  Frenchman  of  medium  height.  He  has  pale 
brown  hair  and  eyesf  and  a  rat-like  face.  He  seems  to 
be  about  eighteen.  Is  exceedingly  clever  and  quick 
with  his  hands,  but  offsets  this  by  idling  every  spare 
minute.  They  are  workinff  with  pauses,  wherein 
Bretelle  runs  to  fix  fire,  or  to  gaze  out  the  window  and 
report  on  what  is  passing.  It  is  on  one  of  these  ex 
peditions  that  the  rise  of  the  curtain  catches  him.* 

POTTS 
'Any  sight  of  Greenie? 


*  The  discussion  of  printed  stage  directions  is  a  good  deal 
like  the  discussion  of  footlights,  or  no  footlights.  It  has 
been  found  that  for  certain  effects  the  latter  cannot  alto 
gether  be  done  away  with.  So,  too,  with  stage  directions 
or  "business."  It  is  true  that  in  many  modern  plays  the 
so-called  stage  business  is  like  a  paragraph  in  a  story. 
But  there  are  times,  especially  in  a  play  when  there  is  con 
tinual  coming  and  going,  and  where  the  stage  positions  of 
a  large  cast  have  a  direct  bearing  on  the  action,  when 
such  story-like  directions  only  serve  to  confuse  the  reader, 
and  clutter  the  page.  Such  plays  as  Hamilton,  Disraeli, 
and  The  First  Lady  of  the  Land  have  moments  when  it  is 
imperative  for  the  reader  to  know  the  exact  position  of  each 
character  in  the  scene,  or  the  full  significance  of  the  scene 
is  lost.  It  then  becomes  a  question  as  to  which  method  is 
best  to  use,  and  undoubtedly  the  sharpest  and  most  incisive 
way  of  indicating  involved  action  is  the  ancient  method 
wherein  "right,"  "left,"  or  "background"  are  clearly  indi 
cated. 


FRANKLIN  9 

BRETELLE 
Devil  a  sight! 

,(He  replenishes  fire) 

POTTS 

'Tis  only  to  Burlington  he  was  sent.  That's  but 
seventeen  miles.  D'ye  think  he's  missed  the  stage 
coach,  or  run  away? 

AUSTIN 

Faith,  if  he's  run,  the  more  fool  he!  They'll  be 
sure  to  catch  him,  and  you  know  what  happens  to 
run-away  apprentices.  .  .  . 

POTTS 

Ten  lashes  and  a  bread  and  water  diet!  I  tried  it 
once,  but  never  a  second  time.  I'd  sooner  take 
Keimer's  wage  that's  as  rotten  as  last  year's  apples. 

BRETELLE 

Mon  Dieu!  Seven  shillings  a  week  to  keep  body 
and  soul  alive!  And  our  work  from  dark  till  dark. 

AUSTIN 

(Clapping  him  on  the  shoulder) 
Come,  lad.     Remember  night,  and  the  joys  of  the 
tavern ! 

POTTS 
Keimer  would  take  even  that  joy  from  us  if  he 


io  FRANKLIN 

could.  Only  the  other  day  he  says  "Work  over  time 
and  HI  give  you  extra  pay!"  D'ye  think  the  little 
Keimer'd  give  could  buy  my  nights  from  me,  my 
nights  at  the  tavern? 

(Indignantly) 
Lord! 

BRETELLE 
When  I  think  of  Keimer  and  his  wage  .  ... 

AUSTIN 
(Soothingly) 

'Tis  only  a  little  lower  than  the  wage  they  pay 
printers  everywhere. 

POTTS 
Curse  take  them,  one  and  all! 

AUSTIN 
(Warily) 
Take  care,  Potts! 

BRETELLE 

You're  safe!     Keimer's  out  looking  for  a  sight  of 
Greenie.     I'll  keep  watch  for  him.    You  can  trust  me. 

(Looks  out) 
Ha! 

POTTS 
What's  passing  now? 


FRANKLIN  n 

BRETELLE 
The  coach  of  the  Governor,  Sir  William  Keith. 

POTTS 

Folks  say  Sir  William  is  the  best  judge  of  books  and 
paper  this  side  of  London. 

BRETELLE 

If  I  was  a  lord  I  would  not  leave  the  Court  of 
London  for  a  bourgeoise  town  like  Philadelphia — not 
even  to  be  Governor. 

POTTS 

The  smaller  the  puddle,  the  bigger  the  toad.  In 
Philadelphia  the  Governor  fares  like  a  king.  But  you 
can't  understand  these  things,  Frenchy,  being  half 
French  and  half  Spanish. 

BRETELLE 
(Darkly) 

I  can  understand  enough  to  hate  success.  Is  it  fair 
that  some  walk  in  the  sun  while  others  walk  in  the 
shadow  ? 

(Works  rapidly) 

POTTS 

(Admiringly) 

Lord,  but  you're  light  with  your  fingers,  Frenchy. 
"Light  fingered  Frenchy!"  Was  that  why  you  left 
the  land  of  France? 


12  FRANKLIN 

BRETELLE 

(In  more  of  a  fury  than  the  joke  warrants) 
What  d'ye  mean? 

POTTS 
Can't  you  take  a  jest? 

BRETELLE 
But  that  depends  on  who  makes  it. 

AUSTIN 

Come,  lads,  don't  quarrel.  Where's  my  composing 
stick  ? 

POTTS 
Damnation!     Look  at  this!    A  whole  page  ruined! 

BRETELLE 
The  ink  is  sticky,  and  the  type  too  old! 

POTTS 
(Furious) 
I  wish  it  was  in 

AUSTIN 

Softly !  Don't  break  it,  or  you'll  have  to  set  it  fresh ! 
Look,  lad!  See  what  I  filched  when  the  ale-wife's 
back  was  turned! 


FRANKLIN  13 

POTTS 
( Overjoyed) 
A  flagon! 

AUSTIN 
Come,  souse  your  sorrow !     Souse  your  sorrow,  man ! 

BRETELLE 
(With  delight) 

It's  my  throat  that's  as  parched   as   a  desert.     A 
health  to  you,  Sam  Austin! 

AUSTIN 

Nay,  not  to  me!     To  our  worthy  master,  Keimer! 
You  first,  Frenchy. 

BRETELLE 

Here's  to  old  squeeze,  Keimer.     May  a  plague  rot 
him! 

(Drinks) 

POTTS 

Here's   to   our   master,    Keimer!     May    the    devil 
make  him  work  in  hades  as  we've  worked   here  on 
earth.     Amen ! 
(Drinks) 

AUSTIN 
Here's  to 

BRETELLE 
Dieu!     Here  he  comes!     Pass  me  the  ink  balls. 


i4  FRANKLIN 

(They  hide  the  flagon,  and  work  with  furious 
industry.  Enter  Keimer,  a  tall  pale  man, 
with  a  red  grayish-streaked  beard,  and  hair 
that  is  tinged  with  gray.  His  clothes  look  as 
if  they  were  flung  on.  He  enters  in  silence, 
darts  an  instant  glance  at  his  printers,  who 
work  as  if  idleness  were  an  unknown  word. 
Then  he  crosses  to  left,  takes  off  his  great 
coat,  hat  and  wig,  and  hangs  them  up,  re 
placing  them  with  a  shabbier  coat  and  a 
mangy  wig.  Then  he  crosses  to  the  printers) 

KEIMER 
Papers  ready  yet? 

POTTS 

Not  quite,  sir.     We're  on  the  last  printing. 

KEIMER 
How  many  more  to  do? 

POTTS 
About  thirty,   sir.     We  could  work   faster   if 


KEIMER 

If —  Always  excuses,  nothing  but  excuses.  You  had 
better  said  the  printing  was  not  done  because  you  are 
.a  set  of  lousy,  idle  wastrels. 

(Enter  left,  Deborah  Read.     She  is  almost  sev 
enteen,  of  medium  height,  and  with  dark  hair 


FRANKLIN  15 

and  eyes.  She  is  slender,  with  a  wind  flower's 
beauty,  and  wth  a  suggestion  of  a  windflow- 
er's  strength.  Her  manner  is  frank  and 
charming,  but  without  a  trace  of  coquetry) 

DEBORAH 
Give  you  good  day,  Mr.  Keimer! 

(She  pauses  a  second,  smiling  at  him  from  the  top 
of  the  steps,  and  then  runs  down  into  ther 
room) 

KEIMER 

(With  very  evident  pleasure) 

Deborah  Read!  Why,  you're  a  sight  for  sore  eyes, 
surely. 

DEBORAH 
Thank  you,  Mr.  Keimer. 

(To  the  printers) 

Give  you  good  day,  Mr.  Journeymen.  How  is  your 
wrist,  Bretelle? 

BRETELLE 

Better,  I  thank  you,  Mademoiselle.  Ever  since 
you  were  here  two  weeks  ago,  I  did  what  you  told  me 
about  it. 

DEBORAH 

That's  right.     I'm  glad  it's  better. 
(Goes  to  counter) 


1 6  FRANKLIN 

Now,  Mr.  Keimer,  you  must  let  me  help  you  fold 
the  papers. 

KEIMER 
You'll  soil  your  hands. 

DEBORAH 
As  if  I  minded  that! 

(Printers  work  industriously  all  through  the  next 
scene) 

KEIMER 

(Watching  her  as  she  works) 
I  declare,  you're  wondrous  pretty,  Debby. 

DEBORAH 
(Briskly) 
You  mustn't  flatter  me. 

KEIMER 

If  ever  I'd  had  a  daughter,  I'd  have  wished  for  one 
like  you. 

DEBORAH 
Ah,  I'm  afraid  that  you  and  Mrs.  Keimer  spoil  me! 

KEIMER 

We  couldn't  do  that,  Debbie.  You've  got  too  sen 
sible  a  head  on  your  shoulders.  You're  as  fine,  and 
cool  and  sweet  as  a — as  a  morning  glory.  No  wonder 


FRANKLIN  17 

half  the  lads  have  lost  their  hearts  to  you,  and  you  not 
giving  your  heart  to  any.  'Tis  foolish  of  you,  Debbie, 
with  your  fine  chances.  How's  Rogers,  the  potter? 

DEBORAH 

(Brushing  the  potter  aside) 
Oh,  Rogers! 

KEIMER 

He's  got  a  tidy  fortune.     And  Matthew  Denham, 
the  butcher? 

DEBORAH 
His  very  soul  is  fat! 

KEIMER 

And  Roger  Francis,  and  Aaron  Brown,  and  Folger 
Goldthwaite 

DEBORAH 

(With  a  little  gesture} 
They're  all  so — commonplace ! 

KEIMER 

Commonplace !    Deborah,  what  do  you  be  wanting  ? 
A  lord? 

DEBORAH 
Oh,  no.     I'd  never  be  so  foolish. 

KEIMER 
What  do  you  want  then? 


1 8  FRANKLIN 

DEBORAH 

Oh,  I  can't  tell  you.  I'm  not  quite  sure  myself. 
Only— 

(Her  eyes  begin  to  dream) 

he  will  be  somehow  different  from  the  others,  and 
high  or  low,  rich  or  poor,  I  shall  know  him  when  he 
comes. 

KEIMER 
(Impatiently) 

Prut!  Nonsense!  That's  just  maid's  talk!  A 
home  and  a  husband  will  banish  all  such  foolish  dream 
ing!  How's  your  father? 

DEBORAH 

In  the  best  of  health.  He's  going  to  call  for  us 
after  supper! 

KEIMER 
Us? 

DEBORAH 

Ah,  confess  that  you've  forgotten  that  mother  and 
I  are  to  take  supper  with  you  and  Mrs.  Keimer!    But 
I  can't  blame  your  memory  when  it's  so  weighted. 
(Indicates  papers) 

KEIMER 

(With  pardonable  pride) 
We've  seven  hundred  subscribers. 


FRANKLIN  19 

DEBORAH 
(Impressed) 
Gracious ! 

KEIMER 

But  you  can't  make  much  on  a  paper  and  a  few 
books.  If  I  could  get  some  special  work  to  do —  If 
I  could  hang  a  sign  outside  my  door,  "Printer  to  Lord 
So  and  So."  Ah,  Debbie,  that  would  be  the  making 
of  me!  But  all  the  great  folk  send  their  work  to 
London. 

DEBORAH 
(Regretfully) 
I'm  afraid  they  do. 

KEIMER 
So  it's  ridiculous  to  hope  for. 

DEBORAH 

I  wish  it  might  come  true.  I  do  love  this  dear  old 
shop,  and  the  smell  of  the  print  and  paper.  Do  you 
remember  when  you  first  brought  me  here? 

KEIMER 
(Holding  his  hand  above  the  floor  to  the  height 

of  a  small  child) 

You  were  about  so  high,  and  I  held  you  up  to  see 
the  printing  press. 


20  FRANKLIN 

DEBORAH 

And  when  I  grew  older  you  let  me  take  my  paints 
and  color  the  print  blocks  you  made  for  children. 

KEIMER 
You  were  right  skilful  at  it. 

DEBORAH 
Have  you  any  now? 

KEIMER 
About  a  dozen. 

DEBORAH 
(Eagerly) 
Will  you  let  me  color  them? 

KEIMER 

Yes.  But  first  I  must  let  Mrs.  Keimer  see  a  little 
more  of  you.  And  I  haven't  paid  my  duty  to  your 
mother. 

DEBORAH 

(Leaving  her  work) 
But  afterwards? 

KEIMER 
Afterwards  you  may  color  all  you  wish. 

(As  she  turns  to  go  Rogers  enters.     A  common 
looking  man  wearing  his  good  clothes  uneasily. 


FRANKLIN  21 

His  face  is  mottled;  his  hands  several  sizes 
too  large) 

ROGERS 

Good  day  to  you,  Mr.  Keimer.  And  to  you,  Mis 
tress  Deborah. 

(He  looks  at  her  anxiously) 
You're  not  going? 

DEBORAH 

I've  scarcely  had  a  word  with  Mrs.  Keimer,  for 
I've  just  come. 

KEIMER 
Now,  Debbie,  stay  a  minute. 

DEBORAH 

Oh,  thank  you,  Mr.  Keimer.  Really,  I  must  not 
keep  her  waiting,  Mr.  Rogers. 

(Curtsies  primly  and  exits.    Rogers  looks  glum) 

KEIMER 

You  mustn't  mind  her.  All  girls  are  flighty  till 
they  have  a  husband  to  sober  'em.  She'll  smile  on 
you  yet. 

ROGERS 
You  think  so? 

KEIMER 

It's  waiting  as  does  it.  Is  there  something  you'll 
have? 


22  FRANKLIN 

ROGERS 
An  almanac. 

KEIMER 

(Giving  it  to  him} 
It  prophesies  fair  and  warmer. 

ROGERS 
Thank  ye.     And  good  day  to  you. 

(Exit    Rogers.     After    a    look    at    the    printers 
Keimer  exits,  left) 

POTTS 

( With  a  laugh,  as  soon  as  their  backs  are  turned) 
It   should    have    prophesied    "storms    and    colder"! 

Tis  the  tenth  almanac  he's  bought  this  month,  and 

she  won't  look  at  him. 

AUSTIN 
(Dreamily) 

It's  just  as  Keimer  said.  She's  like  a  morning  glory. 
It  seems  as  if  she  took  the  sunshine  with  her  and  left 
this  old  place  dark. 

BRETELLE 

Spoke  to  me  as  if  I  were  a  human!  "How's  your 
wrist,  Bretelle?"  'Twas  worth  the  getting  hurt. 

POTTS 

Let  your  feeling  rest  there.  She's  not  for  the  like 
of  us. 


FRANKLIN  23 

(Begins  to  sing} 

"Since  fortune's  my  foe, 
To  a  desert  I'll  go 

(As  he  sings  the  door  in  the  background  opens 
and  young  Benjamin  franklin  enters.  He  is 
a  boy  of  eighteen  but  looks  several  years  older. 
He  is  pale,  shabby,  travel-stained.  The  most 
noticeable  thing  about  his  face  is  the  direct 
ness  and  steadfastness  of  his  eyes.  He  wears 
a  coat  two  sizes  too  large  for  himf  a  garment 
evidently  made  over  from  a  hand-me-down. 
As  he  takes  off  his  hat  on  entering  it  is  seen 
that  he  wears  no  wig.  His  hair  falls  lank  on 
his  coat  collar.  His  low  shoes  are  without 
buckles.  His  stockings  are  thick  and  clumsy 
looking.  He  carries  a  walking  stick  and  on 
it  a  bundle  tied  up  in  a  large  handkerchief. 
From  one  of  the  pockets  of  his  coat  dangles  a 
pair  of  stockings.  The  other  pocket  bulges 
with  some  unknown  articles.  Potts  checks 
his  song  at  sight  of  him) 

AUSTIN 

Hey!     What  do  you  call  that?     A  rag-bag  or  a 
scarecrow  ? 


POTTS 

(Approaching  Franklin) 
What  might  your  name  be? 


24  FRANKLIN 

FRANKLIN 

My  name  is  Benjamin  Franklin. 
(The  printers  stifle  their  mirth) 


POTTS 
Of  the  High  Street  Franklins? 

FRANKLIN 

No.     I'm  a  stranger.     I  wish  to  speak  with  Mr. 
Samuel  Keimer. 

POTTS 
(With  an  impudent  swagger  and  a  wink  at  the 

other  printers) 
And  your  business? 

FRANKLIN 
(Evenly) 
Is  none  of  yours. 

AUSTIN 

Zounds!     The  apparition  hath  found  a  tongue! 
(They  caper  about.     It  is  evident  that  the  wine 
is  having  its  effect  on  their  spirits) 

BRETELLE 
A  chair  for  his  Majesty! 

(Pushes  forward  a  three-legged  stool) 


FRANKLIN  25 

AUSTIN 

Back!     Back!     And    mind    your    manners!     Who 
are  you  to  approach  the  King  of  the  scarecrows? 

(Franklins   eyes   blaze.     He    takes  a   step   for 
ward) 

BRETELLE 

(As  the  printers  skip  back  to  the  press) 
But  if  you  don't  mind  your  manners,  Messieurs,  by 
the  look  in  the  scarecrow's  eyes,  you  may  be  minding 
your  pates. 

POTTS 

(Gingerly  approaching  Franklin) 
Have  you  a  card,  sir? 

AUSTIN 

(Plucking  Potts  by  the  sleeve) 
Don't  embarrass  him !     'Tis  a  deficiency  that  I  can 
remedy.     Give  me  a  piece  of  paper. 

(Writes) 

Benjamin  Franklin  to  see  Mr.  Keimer  on  impor 
tant  business.     Where's  your  card  tray? 

BRETELLE 

(Skipping  up  with  the  warming  pan) 
Here,  Monsieur! 

AUSTIN 
(Dropping  the  paper  in  it  with  great  elegance) 


26  FRANKLIN 

Now  run  and  tell  your  master  the  King  of  all  the 

scarecrows  has  come  to  Philadelphia  on  a  secret  errand. 

(Bretelle  runs  nimbly  with  the  warming  pan  and 

exits.     Franklin   has   been   standing  with   his 

face  half  turned  from  his  tormentors,  looking 

into  the  fire.     Austin  and  Potts  look  at  him 

from  behind  the  printing  press  and  keep  up 

a  running  fire  of  talk) 

Lord !     What  a  chance  to  see  the  styles  from  court ! 

POTTS 

The  latest  cut  of  hair.     A  great  coat  filled  with 
stockings ! 

AUSTIN 

And  did  you  mark  the  bundle?    The  newest  way 
for  carrying  one's  finery. 

(Enter  Bretelle.     He  speaks  with  mock  respect) 

BRETELLE 
Mr.  Keimer  will  see  you,  sir,  in  a  few  minutes. 

FRANKLIN 
Thank  you. 

(Bretelle  runs  to  the  press  and  whispers  to  Potts, 
who  is  shaken  with  silent  laughter) 

POTTS 

(Wiping  his  eyes  on  his  printer's  apron) 
And  we  were  dying  for  a  little  sport! 
(Waves  flagon  in  high  glee) 


FRANKLIN  27 

"Since  Fortune's  my  foe, 

To  a  desert  I'll  go, 
Where  a  river  forever  shall  echo  my  woe." 

BRETELLE 

(His  back  to  audience  as  he  faces  Franklin) 
Hey!    Rag  and  Tatter!    Tell  us  how  you  like  our 
singing? 

(He  does  not  see,  until  too  late,  Deborah  Read, 
who  stands  in  the  doorway) 

DEBORAH 

(With  the  utmost  indignation) 
Pierre  Bretelle! 

BRETELLE 
(Taken  aback) 
Why,  Mademoiselle,  I  did  not  see — I — 

(Mutters) 
'Twas  all  in  jest. 

(Goes  back  to  his  work.  Franklin  looks  up. 
His  eyes  and  those  of  Deborah  Read  meet  for 
a  long  moment) 

DEBORAH 
Was  there  some  one  you  wished  to  see  ? 

FRANKLIN 

I  asked  to  see  Mr.  Keimer,  and  he  sent  back  word 
I  was  to  wait. 


2g  FRANKLIN 

DEBORAH 
I  doubt  if  he  knows  you're  here.    I'll  tell  him. 

FRANKLIN 
I  thank  you. 
(Exit  Deborah) 

POTTS 
(Jeering) 
Now  what's  to  pay,  Bretelle? 

BRETELLE 

Be  still,  you. 

(Cuffs  him.     Enter  Keimer) 

KEIMER 

I  am  Samuel  Keimer.     Did  you  wish  to  speak  with 
me? 

FRANKLIN 
I  did,  sir. 

KEIMER 
(Crossing    to    printers,    and    swiftly    inspecting 

work) 
Are  you  near  through? 

BRETELLE 

(As  they  work  furiously) 
Almost,  Monsieur. 


FRANKLIN  29 

KEIMER 

(Returning  to  Franklin} 
Well? 

FRANKLIN 
I  heard  you  might  need  a  printer. 

KEIMER 

(Looking  him  up  and  down) 
Where  did  you  come  from? 

FRANKLIN 
Boston. 

KEIMER 

(With  half  veiled  contempt) 
Why  didn't  you  stay  there  ? 

FRANKLIN 

Because  there  were  too  many  printers  there  already, 
and  not  much  chance  of  rising.  I  wanted  to  come  to 
a  new  place  where  I  could  learn  new  methods  and 
prove  myself. 

KEIMER 
New  methods?     What  d'ye  mean? 

FRANKLIN 

(Untying  bundle   on   counter) 
I   mean   newer   and   better   ways   of   printing,    sir. 


30  FRANKLIN 

London  is  using  Dutch  letter,  lately  discovered,  and 
we  in  America  are  behind  the  times.  Here  is  some 
type  of  the  new  sort,  and  samples  of  what  it  will  do, 
sir.  I  made  it  from  a  description.  You  see,  the  print 
is  ten  times  clearer  than  what  we're  using  now. 

KEIMER 
Moonshine  and  fiddle-faddle.     Put  them  up. 

(Franklin  begins  to  tie  up  his  bundle  again) 
I've  no  patience  with  new  methods.     My  printing 
press  is  good  enough  as  it  stands.     The  best  in  Phila 
delphia. 

FRANKLIN 
I  didn't  mean  it  wasn't,  sir.     I  only  thought 

KEIMER 

I  do  not  pay  my  journeymen  to  think.  I  pay  them 
to  work. 

FRANKLIN 
I — I  understand. 

KEIMER 
How  long  have  you  been  a  printer? 

FRANKLIN 

I've  been  apprenticed  six  years.  I  began  work  at 
thirteen,  sir.  I  served  my  brother  James,  who  prints 
the  New  England  Courant. 


FRANKLIN  31 

KEIMER 

A  run  away  apprentice,  I'll  warrant.  Was  your 
brother  the  only  one  you  ever  worked  for? 

FRANKLIN 
Yes,  sir. 

KEIMER 

Well,  you  know  what  sort  of  a  recommendation 
that  gives  you. 

FRANKLIN 

A  little  better  than  none  at  all,  sir.  But  if  you'll 
give  me  a  trial  I'll  do  my  best. 

(Keimer  looks  at  him  unmoved) 
I  can  work  hard,  and  fast. 

KEIMER 

Umph!  That's  what  they  all  say.  I've  no  mind 
to  try  a  new  man  unless  I  must.  It  always  means 
trouble  and  upset.  But  if  Greenie  doesn't  come  back 
I  may  be  short.  I'll  give  him  one  hour  more.  You 
can  wait  and  see. 

FRANKLIN 
Thank  you,  sir. 

KEIMER 
Your  pay  will  be  seven  shillings  a  week. 

(To  Bretelle) 
Ready? 


3  2  FRANKLIN 

BRETELLE 
Yes,  Monsieur. 

(He  has  put  on  a  hat  and  muffler,  and  shoulders  a 
large  package) 

KEIMER 
Then  see  your  heels  are  not  as  slow  as  your  fingers. 

(Exit  Bretelle.     To  Potts) 
You  take  the  next  batch,  Potts. 

(To  Austin) 

Break  up  the  type,  and  begin  to  set  those  handbills. 
Finish  them  within  the  quarter  hour,  and  take  them  to 
their  owners. 

AUSTIN 

Yes,  Mr.  Keimer. 
(Exit  Keimer) 
Lord!    I'll  never  have  them  done  in  that  time! 

FRANKLIN 
Did  you  ever  try  heating  the  type? 

AUSTIN 

Heating  the  type?  You'd  better  not  play  the  wag 
with  me,  young  journeyman. 

POTTS 

Try  it,  Austin.  You  can  take  it  out  on  him  later 
if  it  don't  work. 

AUSTIN 
D'ye  mean  that? 


FRANKLIN  33 

POTTS 

Surely. 

AUSTIN 
Well,  then  111  try  it. 

(Sets  up  case  by  fire,  with  type) 

POTTS 

(Singing  to   himself  as  he  slings  papers  on   his 
back) 
"Since  fortune's  my  foe, 

To  a  desert  I'll  go 

(Exit  Potts) 

AUSTIN 
(At  fire) 

Lord !     It  works  like  a  charm !     It  goes  about  twice 
as  fast!     Where  did  you  learn  it? 

FRANKLIN 
On  winter  mornings  when  my  hands  were  freezing. 

AUSTIN 

(Regards  him  a  minute,  then  crosses  to  him) 
Harkye!    That  talk  of  ours  about  your  being  a  rag 
bag — you   mustn't    mind    it.     We're    sometimes    that 
way  to  a  new  one.     Three  years  ago  it  was  the  same 
with  me. 

(Goes  on  with  his  work) 
Did  you  land  at  Long  Wharf? 


34  FRANKLIN 

FRANKLIN 

(Helping  to  heat  the  type) 
Yes. 


AUSTIN 

I  landed  there  myself.  Faith,  I  remember  ft  as  if 
'twas  yesterday!  It  happened  that  there  were  many 
great  folk  on  board  that  day,  and  they  got  out  first — 
velvet  coats,  curled  wigs  and  flashing  buckles.  And 
last  of  all  lands  I,  tattered  at  elbow,  down  at  heel. 
And  there  was  such  a  difference  'twixt  what  went 
first  and  what  came  last,  that  all  the  crowd  that  was 
watching  us  set  up  a  laugh 

FRANKLIN 
A  laugh  that  seemed  to  scorch  you 


AUSTIN 
How  did  you  know? 

FRANKLIN 

It  was  the  same  with  me.     And  then  they  followed 
you,  and  mocked  at  you,  and  jeered  you 

AUSTIN 
(Ruefully) 
Well  I  remember  it! 

FRANKLIN 
And  deep  within  you  you  swore  that  you  would  one 


FRANKLIN  35 

day  land  at  that  same  wharf,  and  change  those  jeers  to 
cheers ! 

AUSTIN 

(Greatly  startled,  backs  off) 

Lord  love  us!  He's  crazed!  I  never  thought  no 
such  a  thing!  You're  jesting! 

(Becomes  less  wary  of  Franklin) 
Never  let  Keimer  hear  you  at  it.     Keep  mum  when 
he's  about. 

(Lowering  his  voice) 

I  tell  you  this  for  your  own  good.  He's  the  flint 
iest  man  in  Philadelphia.  He'll  drive  you  as  if  he 
held  a  slave  whip.  He's  a  hard  master! 

FRANKLIN 
But  aren't  all  masters  hard  till  you're  your  own? 

AUSTIN 

(Breaking  away  from   him) 

Till  you're  your  own — !  Well,  you  are  crazed  for 
sure.  I'd  best  be  off  with  these  handbills  before  my 
own  head  grows  maggots! 

(He  scurries  to  the  door  and  exits.  As  soon  as 
he  has  gone  Franklin  sits  on  the  three-legged 
stool  by  fire,  extracts  a  long  roll  of  bread  from 
his  pocket,  and  begins  to  eat  it.  Deborah 
Read  enters,  left,  a  paint-box  under  her  arm, 
and  a  bowl  of  water  in  her  hand.  She  stops 
at  sight  of  Franklin.  He  quickly  puts  the 
roll  in  his  pocket) 


36  FRANKLIN 

DEBORAH 
(Embarrassed) 

You're  the  boy  I  saw  this  morning  when  I  was 
sweeping  off  the  steps.  I — I  laughed,  and  shook  my 
broom  at  you.  But  'twas  not  meant  unkindly. 

(Briskly) 
Have  you  seen  Mr.  Keimer? 

FRANKLIN 

(Hastily  hiding  roll  and  rising) 
Yes,  Mistress,  but  he  told  me  to  wait. 

(Hesitatingly) 

Mistress,  I  want  to  thank  you  for  taking  my 
part 

DEBORAH 
(Putting  the  paint-box  on  counter  with  bowl  of 

water,  taking  out  brushes) 
I'm  very  angry  with  Pierre  Bretelle. 

FRANKLIN 
(Bluntly) 

Well,  Mistress,  'twas  no  wonder  they  mocked.  I 
do  look  like  the  scarecrow's  cousin,  and — and  my  coat 
is  shabby. 

DEBORAH 

Their  manners  were  shabbier  than  your  coat.  Are 
you  a  stranger  to  Philadelphia? 

FRANKLIN 
Yes,  Mistress. 


FRANKLIN  37 

DEBORAH 
I  thought  as  much. 

(She  looks  at  him  kindly  as  she  leaves  her  paints 
and  exits.  The  moment  she  is  gone  he 
snatches  another  mouthful.  Enter  Bretelle. 
He  sees  Franklin) 

BRETELLE 
(With  a  sneer) 
Still  there,  M'sieu? 

FRANKLIN 
It  would  seem  so. 

BRETELLE 

(As  he  hoists  another  load  of  papers  to  his  back) 
They  have  a  saying  in  your  country,  "Beggars  and 
slug-abeds  love  the  fire." 

(Exit  Bretelle.  Re-enter  Deborah  with  a  bowl 
of  broth) 

FRANKLIN 

(Half  ashamed,  half  grateful) 
Mistress! 

DEBORAH 

(Very  sweetly  and  graciously) 
Nay,  don't  refuse  me!     'Tis  just  a  bowl  of  mutton 
broth  to  make  you  remember  that  Philadelphia  is  not 
always  unkind  and  inhospitable  to  strangers. 


38  FRANKLIN 

FRANKLIN 
(Embarrassed) 
But,  Mistress  Read 

DEBORAH 
(Surprised) 
You  know  my  name? 

FRANKLIN 
I  heard  one  of  the  printers  call  you  so. 

(Haltingly ,  with  emotion) 
I  scarce  know  how  to  thank  you 

DEBORAH 
(Moved) 
Why,  there  are  tears  in  your  eyes! 

(The  next  instant  she  is  terribly  confused,  cannot 
look  at  him  and  wishes  she  had  bitten  her 
tongue  off) 

FRANKLIN 
(Boyishly) 
T-that's  because  the  broth  is  very  hot! 

DEBORAH 

(Regaining  her  composure,  and  setting  to  work) 
Best  let  it  cool,  then. 

(Franklin  puts  his  bowl  on  hearth  shelf,  and  tak 
ing  a  paper  out  of  his  pocket  offers  it  to  her) 


FRANKLIN  39 

FRANKLIN 

If  I  am  not  presuming,  would  you  care  to  see  a 
Boston  paper? 

DEBORAH 

(Taking  it  up,  interested) 
Why,  'tis  the  New  England  Couramt! 

FRANKLIN 

(Drinking  broth  and  watching  her) 
You've  heard  of  it? 

DEBORAH 

My  mother  can't  abide  it;  but  my  father  dotes  on 
it.     I  often  read  the  articles  aloud  to  him. 

FRANKLIN 
Which  does  he  like  the  best? 

DEBORAH 

The  articles  signed  "Couranto."     He  thinks  they're 
wondrous  clever. 

FRANKLIN 
(Boyishly,  eagerly) 
Does  he?     What  do  you  think  of  them? 

DEBORAH 

Oh,  sometimes  I  am  moved  and  thrilled  by  them, 
and  again  I  am  half  frightened. 


40  FRANKLIN 

FRANKLIN 
Frightened  ? 

DEBORAH 

Some  of  the  articles  are  so  bold!  Why,  the  last 
one  said  it  didn't  matter  where  a  man  started  from, 
he  could  climb  to  any  heights  he  chose.  Do  you  be 
lieve  that? 

FRANKLIN 

(Simply) 
It's  my  creed.     You  see — I — I  wrote  those  articles. 

DEBORAH 
YOM  wrote  those  articles — !     You're  Couranto! 

FRANKLIN 

Well,  my  true  name  is  Benjamin  Franklin,  but  at 
heart  I'm  Couranto:  only  more  so! 

DEBORAH 
You're  going  to  be  a  printer  here  with  Mr.  Keimer  ? 

FRANKLIN 

I  hope  to  be.     I  wish  he  were  more  interested  in 
my  new  blocks  for  printing. 
(Indicates  them) 

DEBORAH 
Oh,  father  will  be  so  excited  when  I  tell  him ! 


FRANKLIN  41 

FRANKLIN 
I'm  very  proud  to  think  that  he  likes  my  articles. 

DEBORAH 

(With  apparent  pride) 

And  he's  a  judge  of  articles!  He  says  that  in  order 
to  reach  the  public  the  statements  in  a  paper  should 
be  hot  as  rum  punch  and  sudden  as  love!  What 
do  you  think  of  that? 

FRANKLIN 
(Bluntly) 

Well,  I  can  speak  for  the  first,  but  I've  never  ex 
perienced  the  second. 

DEBORAH 

(With  innocent  frankness) 

No  more  have  I.  But  then,  we've  years  ahead  of 
us  before  we  can  be  as  wise  as  father  is. 

FRANKLIN 
That's  true. 

DEBORAH 

I  hope  you  don't  mind  my  saying  I  thought  your 
writing  bold? 

FRANKLIN 
(Vehemently) 

Were  the  press  really  free,  my  writing  would  have 
been  a  hundred  times  bolder.  Freedom!  That's  go- 


42  FRANKLIN 

ing  to  be  the  watchword  of  this  century.     It's  going 
to  be  a  part  of  the  doctrine  that  will  shake  the  world. 


DEBORAH 
(Half  startled) 
Doctrine  ? 

FRANKLIN 

(With  growing  fervor) 

That  all  men  are  born  equal  and  free,  and  rise  or 
fall  by  what  is  within  themselves.  That  is  the  great 
discovery  of  our  time.  France  dreams  it:  England 
dreads  it:  America  knows  it!  The  knowledge  is  run 
ning  from  country  to  country;  but  underground,  like 
a  subterranean  fire,  and  the  people  who  are  living 
nearest  the  ground  have  word  of  it  first.  But  our 
press  dares  not  tell  of  it  yet.  'Tis  too  mighty  a  con 
flagration.  They  are  afraid  of  it.  For  when  you've 
thrilled  a  man  with  the  knowledge  that  he  is  responsi 
ble  for  his  own  future,  what  have  you  done?  You've 
given  him  a  spark  of  that  Promethean  fire  that  was 
meant  to  burn  for  all  the  world,  and  not  for  a  favored 
few.  However  poor  that  man  may  be,  however  ob 
scure  he  is,  you've  given  him  life  and  hope  and 
strength 

DEBORAH 
(Kindling) 
You  mean 


FRANKLIN  43 

FRANKLIN 

I  mean  that  a  man  can  fight  his  own  way  to  any 
goal  he  dreams  of.  I  mean  that  even  a  humble  print 
ing  press  can  be — a  ladder  to  the  stars! 

DEBORAH 
(With  a  half  cry) 

Ah,  I  knew  that  you  were  different  from  the  others. 
Tell  me,  what  are  you  going  to  do? 

FRANKLIN 

(Eagerly  and  rapidly) 

First — work  early  and  late,  and  save  till  I  have  my 
own  printing  press. 

DEBORAH 
And  later  your  own  paper. 

FRANKLIN 
The  Saturday  Evening  Post. 

DEBORAH 

(Staring  before  her) 
The  Saturday  Evening  Post. 

(Turning  to  him  enthusiastically) 
That's  a  good  title.     It  sounds  as  if  folks  would 
read  it. 

FRANKLIN 

I  think  they  will.  And  in  it  I  mean  to  print  my 
own  wares  as  well  as  other  people's. 


44  FRANKLIN 

t>EBORAH 

(Half  overawed] 
You  mean  to  be  an  author? 

FRANKLIN 
Yes,  yes,  and  more. 

(Halts) 
You'll  think  me  mad! 

DEBORAH 
(Breathlessly) 
No.     No.     Go  on.     Go  on. 

FRANKLIN 

I  hope  to  be  what  an  author  is  when  he  helps  to 
fashion  the  thoughts  of  the  public. 

DEBORAH 
(Fascinated) 
You  mean  a  statesman? 

FRANKLIN 
(Passionately) 

Yes.  With  all  my  heart  and  soul  I  long  to  serve 
America,  my  country,  where  a  man  can  say,  "I  will 
mold  my  own  future,  and  poverty  is  no  disgrace" ! 

DEBORAH 
Ah,  and  you'll  do  it! 


FRANKLIN  45 

FRANKLIN 
You  think  I  will? 

DEBORAH 
I'm  sure  of  it! 

FRANKLIN 
You  do  believe  in  me! 

DEBORAH 

With  all  my  heart!  Oh,  you  have  shown  me  vistas 
such  as  I  never  dreamed!  You've  made  my  little 
world  seem  small  and  sordid! 

FRANKLIN 
(Deeply) 
No  world  that  holds  you  in  it  could  be  sordid. 

DEBORAH 
Women  can  do  so  little. 

FRANKLIN 

An  hour  ago  I  might  have  said  "That's  true" !  But 
now  I  know  that  no  man's  triumph  is  complete  until 
he  reads  it  in  a  woman's  eyes. 

GREENIE'S  VOICE 
(Shrilly,  without) 
Let  be,  I  tell  you! 

(Enter  Bretelle,  and  Greenie,  a  lad  of  fifteen  or 


46  FRANKLIN 

thereabouts,    shock     headed,    wide    mouthed. 
Bretelle  is  leading  him  by  the  ear) 


BRETELLE 

Come  in,  you  whelp!     Don't  dictate  to  your  elders! 
{Austin  enters,  followed  by  Potts) 

POTTS 
What  is  it,  Austin? 

AUSTIN 

'Tis  our   apprentice  back   again,   and   ready  for  a 
thrashing.     Call  Mr.  Keimer. 
(Exit  Potts,  left) 

GREENIE 

You  leave  me  be,   Pierre  Bretelle!     I   tell  you   I 
missed  the  stage  coach. 

BRETELLE 

(Walking  him  over  to  the  bench,  right) 
A  likely  story! 

GREENIE 
And  had  to  beg  a  ride! 

AUSTIN 
Wait  till  you've  seen  the  master! 


FRANKLIN  47 

GREENIE 
(Half -crying) 

Wait  till  the  master's  heard  the  news  I've  got  for 
him.  Sir  William  Keith's  coming  here! 

KEIMER 

(At  top  of  steps) 
Who  said  Sir  William  Keith? 

GREENIE 

I  did,  sir.  And  it's  the  truth!  Lash  me  if  it  isn't! 
I  passed  his  coach  just  now  and  heard  him  say  it.  He 
was  leaning  out  and  talking  to  a  friend. 

KEIMER 
Boy,  if  you're  lying 

GREENIE 

Don't  I  know  I'll  have  to  pay  for  it!  But  it's  the 
truth,  I  tell  you,  the  truth!  I  heard  Sir  William  say 
so!  He's  coming  here  to  ask  about  some  printing. 

KEIMER 
(Entranced) 

Angels  in  heaven!  Sir  William  coming  here! 
Clear  up  that  bench,  you  vagabonds. 

(Printers  scurry  to  clear  bench) 
Debbie,  be  quick!     Help  me  rid  up  this  counter! 
Angels  in  heaven!     A  lord!     A  lord  at  last! 
(Sees  Franklin) 


48  FRANKLIN 

You!     What  are  you  waiting  for?     Don't  you  see 
the  apprentice  has  come  back? 

FRANKLIN 
But  won't  you  need  another  printer? 

KEIMER 

(Shouting  with  vexation} 

No!     Get   out!     Get    out!     You're    in    the    way. 
Get  out ! 

FRANKLIN 
But,  sir 

KEIMER 
Begone,  I  tell  you ! 

(Franklin  turns  away) 
Is  my  wig  straight? 

(Keimer  looks  anxiously  in  mirror  he  takes  from 
behind  counter) 

DEBORAH 
(To  Franklin) 

Mr.  Journeyman,  come  back  a  moment.     Haven't 
you  forgotten  one  of  your  print  blocks? 

( Just  as  Franklin  turns  back  toward  Deborah,  Sir 
William  Keith  enters.  Tall,  slender,  fash 
ionable.  His  manner  brings  a  whiff  of  the 
court  into  the  dingy  printing  shop.  He  car 
ries  a  folio  under  his  arm) 


FRANKLIN  49 

KEITH 
Is  this  the  printing  press  of  Samuel  Keimer? 

KEIMER 

Yes,  my  Lord !    Your  Lordship's  very  humble  serv 
ant! 

KEITH 
You  sell  both  books  and  papers? 

KEIMER 
Yes,  Sir  William.     Yes,  my  lord! 

KEITH 

I  wish  to  have  some  cards  printed  for  a  dinner  I  am 
giving,  instead  of  waiting  to  send  the  work  to  London. 

KEIMER 
Yes,  my  lord! 

KEITH 

Show  me  some  samples  of  your  work.     I  myself  will 
supply  the  paper  I  wish  them  printed  on. 

KEIMER 
(Hastening    to    get    samples    out   from    back    of 

counter) 

Yes,  my  lord.     Here's  one.     You  see  the  print  is 
very  clear  and  fine. 


50  FRANKLIN 

KEITH 

(Looking  at  specimens) 
Let  others  say  that  for  you. 

KEIMER 
Y-yes,  your  lordship. 

(Keith  and  Keimer  are  left  of  stage  center,  the 
rest  in  the  room  watching  them  eagerly.  Aus 
tin  stands  at  right  in  a  respectful  attitude, 
and  takes  the  specimens  which  Keith  dis 
cards) 

KEITH 
Too  blurred.     It  will  not  do. 

KEIMER 
(  A  nxio  usly) 
Try  this,  my  lord. 

(Gives  him  another  specimen) 

KEITH 

(Discarding  it) 

Impossible.     I  am  a  judge  of  print  and  this  is  ex 
ecrable.     Have  you  no  other  specimens? 

KEIMER 

If  your  lordship  could  wait  till  I  have  some  fresh 
type  molded 

KEITH 
I  cannot  wait  that  long. 

(He  hands  back  the  last  specimen  to  Keimer  and 


FRANKLIN  51 

turns  to  go,  coming  face  to  face  with  Frank 
lin} 

FRANKLIN 

(Offering  a  specimen) 
Would  your  lordship  look  at  this? 

(Keith  takes  specimen;  faces  audience,  tipping 
specimen  to  get  light  on  it.  Franklin  draws 
nearer.  Keith  looks  at  specimen,  then  at 
Franklin,  then  looks  at  specimen  again) 

KEITH 

Hah!     Printed  from  Dutch  letter.     Clear.     Per 
fect. 

(To  Keimer) 
Why  didn't  you  show  me  this? 

(Looks  again  at  specimen) 
One  of  the  Odes  of  Horace.    Who  made  this  type? 

FRANKLIN 
I  did,  my  lord. 

KEITH 

H'm. 

(Looks  him  up  and  down) 
Are  you  one  of  Keimer's  printers? 

KEIMER 
(Hastily) 

Yes,  my  lord.     I— I've  just  engaged  him. 


52  FRANKLIN 

KEITH 

(As  Franklin  begins  to  pass  him  other  specimens) 
Where  did  you  learn  to  mold  such  type? 

FRANKLIN 

I   read  descriptions  of  what  Caslon  was  doing  in 
London,  and  what  Didot  was  doing  in  France. 

KEITH 

(Looking  at  samples  and  back  at  Franklin) 
You  know  the  Odes  of  Horace,  and  the  Essays  of 
Shaftesbury?    Where  did  you  learn  your  A.  B.  C.'s? 
At  Harvard? 

FRANKLIN 

No,  my  lord.  Between  whiles  in  my  father's  shop, 
and  later  in  my  brother's  printing  press. 

KEITH 

(Still  looking  at  him) 
What  is  your  father? 

FRANKLIN 
A  tallow  chandler. 

KEITH 

(Considering) 

Hah!  Could  you  set  up,  print  and  correct  for  me 
a  set  of  poems,  and  let  me  have  them  by  tomorrow 
morning  ? 


FRANKLIN  53 

FRANKLIN 
By  working  all  night,  yes,  my  lord. 

KEITH 

The  pay  shall  be  divided  'twixt  you  and  Mr. 
Keimer.  One-third  to  you;  two-thirds  for  the  use 
of  the  presses. 

KEIMER 

(Bowing,  rubbing  his  hands  with  pleasure} 
Yes,  my  lord. 

KEITH 

(To  Franklin) 

I  leave  the  choice  of  type  and  spacing  to  yourself. 
(Opens  folio  he  carries,  handing  it  to  Franklin, 
and   demonstrating   on    one   of   the   pieces   of 
white  bristol  board  which  it  contains) 
But  I  would  have  the  poems  printed  thus :  First  the 
title  of  the  poem,  then  underneath  the  title  a  line  or 
two  of  the  refrain,  and  then  the  poem  itself,  refrain 
and  all.     You  understand  me? 

FRANKLIN 
Perfectly,  my  lord. 

KEITH 
(Still  regarding  him  as  he  takes  a  leisurely  pinch 

of  snuff) 

And  so  you  learned  between  whiles?  You  are  am 
bitious? 


54  FRANKLIN 

KEIMER 
(Quickly) 
My  lord,  I'm  sure  he  wouldn't  be  so  presumptuous. 

KEITH 
(Still  looking  at  Franklin,  and  ignoring  Keimers 

existence) 
You  are  ambitious? 

FRANKLIN 
Yes,  my  lord. 

KEITH 

Take  care.  Ambition  is  a  deadly  drug.  Yet  here 
in  America  I  sense  a  new  order  of  things  that  is  some 
day  to  be  born — a  new  order  with  new  opportuni 
ties.  .  .  .  You,  young  man,  may  go  far.  But  never 
forget  that  though  you  satisfy  all  your  ambitions,  or 
nearly  all,  there  may  be  one  that  you  will  never 
attain.  And  the  failure  to  reach  that  one  will  leave 
your  life  bitter  and  incomplete.  Some  day  you  may 
remember  that  I  have  told  you  this. 

FRANKLIN 
My  lord,  I  thank  you. 


KEITH 

And  one  thing  more.     See  that  you  get  to  London, 
Fse  newer  methods  yet,  and  you  will  win. 


FRANKLIN  55 

FRANKLIN 
I  thank  your  lordship. 

(Keith  turns  toward  door.     General  stir) 

KEIMER 
May  I  attend  you,  my  lord? 

(Runs  before  him  to  open  door.  Exeunt  Keith 
and  Keimer.  Printers  snatch  up  coats  and 
hats  from  pegs,  hurriedly  putting  them  on) 

POTTS 

Work's  over!  Come,  lads!  This  may  be  the  only 
chance  you'll  ever  have  to  let  the  whole  street  see  you 
attending  on  a  lord.  Come!  And  then  to  the  tav 
ern! 

BRETELLE 
The  tavern! 

AUSTIN 

I  wish  'twas  not  so  dark,  so  folks  could  see  us  bet 
ter. 

(Exeunt  Bretelle,  Austin,  Potts  and  Greenie  with 
the  utmost  nimbleness) 

FRANKLIN 
(To  Deborah) 

My  first  step  upward !  I  owe  it  all  to  you !  You 
called  me  back — you  pretended  that  I  had  left  a  print 
block 


56  FRANKLIN 

DEBORAH 

I  felt  it  might  be  a  critical  moment  if  the  great  Sir 
William  should  take  an  interest  in  you.  And  it  hap 
pened  just  as  I  hoped. 

FRANKLIN 
You  made  it  possible. 

DEBORAH 
(Briskly,  as  if   to  ward  off  something   that  she 

feels) 

Ah,  but  your  own  wit  did  the  rest.  Come !  Every 
moment  counts  at  a  time  like  this.  Get  out  the  type 
case,  and  I'll  read  the  poems.  Which  shall  I  choose? 

FRANKLIN 

(Preparing  to  set  type  with  marvelous  celerity) 
The  first  that  your  hand  touches. 

DEBORAH 
Shall  I  begin? 

(She   is   looking  at   Franklin   instead   of  at   the 
paper) 

FRANKLIN 

The  title  first,  he  said.  And  after  it  the  refrain. 
What  is  the  title? 

DEBORAH 

(Reading  and  then  watching  Franklin  again) 
'Tis    called    "Lines    to    One   Starting    on   a   Long 
Journey" 


FRANKLIN  57 

FRANKLIN 
And  the  refrain? 

(Deborah  looks  down  on  the  paper.     There  is  a 

slight  pause) 
And  the  refrain? 

DEBORAH 
"Courage !    Tho'  the  way  be  far 

Fate  will  guide  you,  like  a  star!" 
(Their  eyes  meet) 

FRANKLIN 
Deborah,  'tis  like  a  portent! 

(Eagerly) 
Ah,  you  must  guess  what  I  long  to  tell  you 

DEBORAH 
Hush!     Not  yet. 

FRANKLIN 
But — some  day 

DEBORAH 
Some  day. 

FRANKLIN 

And  you  will  listen? 

DEBORAH 

I  will  always  listen  when  it  is  you  that  speak. 
(Enter  Keimer  in  a  high  state  of  delight) 


5  8  FRANKLIN 

KEIMER 

Well!  Well!  This  has  been  a  great  adventure! 
Not  one  of  my  neighbors  but  what  knows  that  Samuel 
Keimer  has  entertained  a  lord  in  his  shop.  Come, 
Debbie.  I'll  warrant  Mrs.  Keimer  and  your  mother 
will  be  agog  when  they  hear  it! 

DEBORAH 
(Gaily) 
I'll  warrant  they  will! 

(She  picks  up  paint-box) 

KEIMER 

(Opening  door  for  her) 
Come,  Debbie. 

DEBORAH 
I'm  coming. 

(She   pauses  on    the  step   leading   to   the   house, 
looking  back  at  the  young  figure  who  stands 
at  the  printing  press,  watching  her) 
Good  night,  Mr.  Journeyman! 

FRANKLIN 

Good  night  to  you,  Mistress  Read,  and  pleasant 
dreams. 

DEBORAH 
I  thank  you. 

(Exit  Deborah.     Keimer,  who  has  held  a  candle 


FRANKLIN  59 

for  her,  puts  it  back  on  the  shelf,  and  pauses 
on  step  to  admonish  Franklin) 

KEIMER 

And  don't  forget,  lord  or  no  lord,  night  work  or 
no  night  work,  you'll  be  on  hand  come  six  tomorrow 
morning.  Blow  out  the  candles  when  you  leave,  and 
lock  the  door. 

FRANKLIN 
I  will  remember. 

(Exit  Keimer,  Franklin  stands  at  his  printing 
press  in  the  shadowy  room,  his  face  transfig 
ured  by  an  inner  flame,  his  eyes  lifted  to  the 
door  through  which  Deborah  has  vanished) 

"Courage,  tho'  the  way  be  far!" 
(He  is  beginning  to  work  as  falls  the 

CURTAIN 


ACT  II 

Scene:  Keimer's  shop,  as  in  Act  I.  Everything  is 
much  the  same,  only  shabbier  and  more  down  at  heel. 
The  whole  room  has  an  air  of  non-success  and  for- 
lornness.  Across  the  wall  at  right,  behind  the  print 
ing  press,  hangs  a  tapestry  made  of  sacking,  rudely 
stitched  together.  The  sacking  is  coarse  brown  stuff. 
To  this  tapestry  are  pinned  wood  cuts,  prints  and 
several  pages  from  Keimer's  paper,  memorandums,  etc. 
The  "tapestry"  parts  in  the  middle,  as  if  it  were  a 
curtain.  But  this  parting  is  not  wide  enough  to  dis 
close  anything  that  may  be  behind  the  "tapestry."  It 
is  Spring,  and  brilliant  sunshine  pours  through  the 
dilapidated  windows.  The  door  in  background  stands 
wide  open.  The  hearth  is  fireless  and  gaunt. 

Time:  A  year  and  a  half  later. 

At  Rise:  Franklin  stands  at  hearth,  with  a  book 
propped  in  front  of  him  on  the  hearthshelf.  Quill 
pen  and  ink  at  his  elbow.  From  time  to  time  he 
writes  on  some  loose  pages.  He  is  fathoms  deep  in 
what  he  is  doing,  and  lost  to  all  that  goes  on  in  the 
room.  His  clothing  is  clean,  but  a  mass  of  patches. 
Since  the  weather  is  hot,  he  is  without  his  coat  and 
wears  a  loose  linen  shirt  that  has  been  often  mended. 
The  printers  Austin  and  Bretelle  have  pulled  the  bench 
down  stage,  center,  and  straddling  it,  regale  them- 

60 


FRANKLIN  61 

selves  with  a  meager  lunch  of  water,  bread  and  cheese. 
They  too  are  even  shabbier  than  in  Act  I.  They 
wear  loose  shirts  that  are  exceeding  dirty,  though 
Bretelle  is  a  trifle  cleaner  than  Austin.  Their  sleeves 
are  rolled  to  their  elbows.  They  eat  dejectedly,  even 
their  sardonic  spirits  flown.  Enter  Potts  from  back 
ground,  mopping  his  face. 

POTTS 

Is  there  a  bite  and  a  sup  for  me,  or  have  you  rogues 
eaten  it  all? 

BRETELLE 

(As  they  make  room  for  Potts) 
Here's  a  bit  of  bread  and  cheese,  and  a  sup  o'  water. 

POTTS 
Water,  pah! 

(He  drinks,  making  a  wry  face) 

AUSTIN 

Don't  curse  your  blessings.     Next  week  you  may 
feed  on  air. 

BRETELLE 
S-sh!     Careful! 

POTTS 

Careful! 

(Mimics  Bretelle) 
'Tis  all  over  town  that  Keimer's  gone  bankrupt  to 


62  FRANKLIN 

kiss  the  shoes  of  a  lord!  He's  borrowed  more  money 
than  he  can  ever  pay  back.  He's  beggared  himself 
because  Sir  William  looked  on  him.  Dutch  letter. 
Better  ink  and  paper.  All  the  rest  of  it. 

(Indicates  press) 

And  what's  Sir  William  done?     He's  let  us  rot, 
damn  him! 

AUSTIN 
Have  a  care! 

POTTS 
Oh,  Ben  won't  hear  me! 

(Calls) 
Ben!     What  did  I  tell  you? 

(Austin  tiptoes  up  to  Franklin ,  steals  one  of  the 
pages  Franklin  is  working  on  without  Frank 
lin  s  seeing  him,  and  then  skips  back  to  print 
ers  with  it) 

AUSTIN 

(Reading  what  is  on  sheet) 

Air  currents — atmosphere — effect  of  storms  on  the 
ether — 

(Franklin  begins  to  look  for  the  sheet  of  paper) 
Look!    He  can't  find  it.    He  doesn't  guess  it's  been 
spirited  away! 

(Printers  laugh  in  glee.  Franklin  gives  up  his 
search  for  the  paper  and  goes  on  with  his 
work.  Potts  goes  up  to  Franklin  and  slaps 
him  resoundingly  on  the  shoulder) 


FRANKLIN  63 

POTTS 
Hey,  Franklin! 

(Franklin  looks  up) 
What  romance  is  it  that's  stuffing  your  eyes  and 

ears? 

(Looks  at  Franklin's  book) 
A  book  on  chemistry. 

(Snatches  it  from  Franklin) 

FRANKLIN 
(Catching  Potts) 
Don't  touch  that  book,  Potts. 

POTTS 

(Writhing) 
Let  me  go!     I  tell  you,  you're  breaking  my  arm! 

Let  me  go! 

(Franklin  drops  Potts'  arm  and  retains  book) 
You'd  think  your  foolish  book  was  bound  in  gold! 
(Potts  rubs  his  arm) 

FRANKLIN 

I'd  rather  lose  my  head  than  that  book.  It  is 
bound  in  gold  for  them  that  have  eyes  to  see!  It's  a 
guide  to  heights  that — 

(Abruptly,  as  if  remembering  suddenly  to  whom 

he  speaks) 

that  are  no  more  to  you  than  cold  soup  in  yesterday's 
dish. 

(Goes  back  to  his  work) 


64  FRANKLIN 

AUSTIN 

I'd  be  glad  for  soup  in  any  dish,  today's  or  yes 
terday's! 

POTTS 

That  book  was  a  gift  from  Sir  William  to  our  wor 
shipful  friend.  I  saw  his  name  on  the  fly  leaf. 

AUSTIN 

To  our  moon-struck  f riena !  Have  you  not  noticed 
his  actions  these  last  few  weeks  ?  Yesterday  I  saw  him 
working  on  a  kite,  and  the  day  before  that  he  was 
tying  silk  cord  to  a  hempen  string. 

BRETELLE 

What's  this  he's  dropped  ? 
(Shows  metal  disk) 

POTTS 

A  piece  of  iron!  What  d'ye  suppose  he  wants  it 
for? 

AUSTIN 
Keep  it  and  see. 

POTTS 
I'll  throw  it  on  the  scrap  heap. 

BRETELLE 

Nay,  give  it  to  me.  There's  nothing  I  wouldn't 
do  to  spoil  his  crack-brained  plans. 


FRANKLIN  65 

POTTS 

Hey,    Frenchy!    You   hate  him   because   Deborah 
Read  smiles  on  him,  and  you  want  Deborah ! 

(Bretelle's  eyes  flash  fury.     He  clenches  and  un 
clenches  his  hands) 

BRETELLE 

(Fairly  spitting  out  the  words) 
You  blackguards! 

AUSTIN 

Lord,  Frenchy!    What  a  demon  looks  out  of  your 
eyes  when  you  are  angry. 
(Backs  off) 

BRETELLE 
She's  kind  to  all  of  us. 

POTTS 

(Enjoying  Bretelle's  anger) 
Aye,  but  most  kind  to  him. 

BRETELLE 

You  know  she's  Keimer's  ward.  He  wouldn't  let 
Ben  marry  her. 

AUSTIN 

And  there's  Rogers  to  reckon  with.  He  hangs 
round  this  door  sill  every  day,  just  for  a  glimpse  of 
her. 


66  FRANKLIN 

BRETELLE 
I'd  see  Ben  rot  in  hell  before  he  gets  her. 

POTTS 
(Lightly) 

We'll  rot  there  ourselves  if  Keimer  finds  us  idle. 
Is  this  the  ink  we're  to  use? 

(Goes  back  to  presses.  Bretelle  puts  iron  disk 
in  his  pocket.  Franklin  comes  back  from  the 
door  and  takes  up  his  book.  A  woman 
comes  to  the  doorway,  background.  She  is 
of  medium  height,  and  may  once  have  been 
pretty.  But  now  she  looks  work-worn, 
ragged,  and  old  before  her  time.  She  wears 
a  dilapidated  gray  dress  and  shawl,  and  car' 
ries  a  leather  portmanteau.  In  spite  of  her 
apparel  she  has  an  air  of  determination.  She 
glances  up  and  down  the  road,  and  then  enters 
Keimer 's  shop) 

WOMAN 
Can  you  tell  me  the  way  to  the  magistrate's? 

POTTS 
He  has  no  traffic  with  beggars. 

AUSTIN 
And  the  poorhouse  is  in  the  other  direction. 

(Franklin  comes  out  of  his  dream,  is  aware  that 
something  is  afoot,  and  looks  at  the  woman) 


FRANKLIN  67 

FRANKLIN 
What  is  it  you  are  wanting,  Mistress? 

WOMAN 
Can  you  tell  me  the  way  to  the  magistrate's? 

FRANKLIN 

(Going  to  the  door  and  pointing  up  the  road} 
The  large  house  at  the  end  of  this  street,  Mistress. 
A  white  mansion  with  green  shutters. 

WOMAN 

I  landed  this  morning  with  a  letter  to  'im.     Do  you 
think  'e'll  see  me? 

FRANKLIN 

I'm  sure  he  will  if  you  bide  your  time,  Mistress. 
Best  go  to  his  house  and  wait. 

WOMAN 
Thank  you,  sir.     Thank  you  kindly,  sir. 

(Exit  woman,  background.     Franklin  goes  back 
to  his  book) 

AUSTIN 
Spoke  to  her  as  if  she  was  a  lady! 

POTTS 

He's  losing  his  wits.     For  a  while  even  I  believed 
in  him.    But  now  I  know  he's  a  stupid  dreamer. 


68  FRANKLIN 

(From  time  to  time  during  the  talk  that  ensues 
Franklin  goes  to  the  open  door  and  looks  up 
at  the  sky) 

AUSTIN 

Look  at  him!  Star  gazing  in  the  day  time!  He 
doesn't  hear  a  word  we  say!  Do  you  truly  think 
he's  crazed,  Potts? 

POTTS 
I  wonder  why  Keimer  keeps  him  on? 

BRETELLE 

Do  you  need  to  ask?  'Tis  for  fear  of  offending  my 
lord. 

AUSTIN 

( Tauntingly  to  Franklin,  who  stands  at  doorway, 

looking  upward) 

Hey,  Ben!  Ben  Franklin,  what  do  you  see  in  the 
heavens  ? 

FRANKLIN 

(Dreamily ,  in  a  tranced  voice) 
"For  the  third  week  of  April  great  heat  may  be  ex 
pected.     Look  out  for  storms.     Thunder  and  light 
ning." 

AUSTIN 

(Fairly  shouting  at  him) 
Ben! 


FRANKLIN  69 

FRANKLIN 

(Turning  and  looking  at  them  vaguely) 
Did  some  one  speak  to  me? 

POTTS 
What  did  I  tell  you? 

( Taps  his  head) 

'Tis  here  that  he's  affected.     Can't  keep  his  mind 
off  the  almanac  and  the  weather. 

FRANKLIN 
Did  you  speak  to  me,  Potts? 

POTTS 

(Suddenly  blazing  out  at  him) 
Yes,  I  spoke  to  you,  you  half-crazed  dreamer.    What 
has  your  great  friend  done  for  us?     Why  hasn't  he 
sent  us  patrons?     Why  hasn't  he  got  us  customers? 
Look  at  that  new  Dutch  letter  press 

FRANKLIN 

Sir  William  didn't  command  Mr.  Keimer  to  buy 
new  presses. 

AUSTIN 
What's  he  done  for  us? 

BRETELLE 
Where's  the  subscribers  he  should  send  to  us? 


70  FRANKLIN 

FRANKLIN 

New  presses  aren't  enough.  You've  got  to  have 
brains  behind  the  presses  if  you  want  subscribers. 

POTTS 

(Mimicking) 

Brains!     Didn't  I  tell  you  he  was  simple? 
(Franklin  goes  back  to  his  book) 

AUSTIN 

When  he  first  came  here  he  did  two  men's  work  for 
one  man's  pay.  That's  always  a  sure  sign. 

POTTS 
Let's  bait  him! 

(Dances  up  to  Franklin,  and  thrusting  aside 
Franklin  s  book,  looks  impudently  into  Frank 
lins  face) 

Aha!  Ben  Franklin!  What  were  you  doing  last 
night  in  Peter  Folger's  field?  You  were  running  up, 
and  down  with  the  wind  in  your  hair  as  if  the  devil 
was  after  you! 

(Enter  Keimer  left,  in  time  to  hear  Potts'  last, 
words.  Keimer  is  wearing  his  shabby  best. 
He  carries  a  paper  in  his  hand) 

KEIMER 

(Loudly  and  furiously) 
And  well  he  may  be,  you  skulking  villains. 

(He  catches  Potts  by  the  scruff  of  the  neck  and 
swings  him  round) 


FRANKLIN  71 

Who  set  the  third  page  of  last  week's  paper? 

(Silence) 
Who  read  the  proof? 


BRETELLE 
Not  I,  M'sieu! 

KEIMER 
(Roaring) 

Answer  me!  Who  mixed  the  town  news  with  the 
almanac  predictions? 

POTTS 

It  must  be  Ben.  He's  talked  of  nothing  but  the 
weather. 

KEIMER 

(Shaking  the  paper  under  Franklin's  nose) 
Ben  Franklin,  answer  me !  Did  you  set  this  column  ? 

FRANKLIN 
Why,  yes,  sir — I 

KEIMER 

(In  a  towering  rage) 

Aha!  You  loose-tongued  rascal!  I  thought  that  it 
was  you!  Where  were  your  wits?  What  were  you 
thinking  of  ?  You'll  be  the  ruin  of  me ! 

(Printers  make  signs  of  delight  to  each  other) 


72  FRANKLIN 

AUSTIN 
Is  it  so  terrible,  sir? 

KEIMER 

Terrible!  It's  brought  the  best  folk  of  the  town 
about  my  ears! 

(To  Franklin) 

Didn't  I  tell  you  to  put  the  almanac  predictions  at 
the  top  of  the  page? 

FRANKLIN 
(Eagerly) 
That's  where  I  put  them,  sir. 

(Deborah  enters,  left,  and  stands  on  steps,  listen 
ing) 

For  the  third  week  of  April  great  heat  may  be  ex 
pected.  Look  out  for  storms.  Thunder  and  lightning. 

KEIMER 

I'll  thunder  and  lightning  you!  Look  what  you've 
done,  you  scurvy  rascal! 

(  The  printers  gather  about  Franklin  and  Keimer 
in  high  glee.  Keimer  reads  in  a  voice  broken 
with  emotion) 

Our  esteemed  citizen  Darius  Flint  is  dead  and  gone 
to  his  reward.  Great  heat  may  be  expected.  What 
were  you  dreaming  of  ?  And  as  if  that  wasn't  enough, 
look  at  this!  Miss  Mabelle  Snipper  hath  married 
Thaddeus  Brown.  Look  out  for  storms! 


FRANKLIN  73 

(Printers  can  barely  stifle  their  mirth.     Keimer 

glares  at  them) 
Be  silent !    This  is  no  time  for  laughter. 

(Tragically) 

Look  at  the  last  one!  Twin  babes  have  come  to 
bless  the  home  of  Mistress  Seymour.  They  will  be 
christened  on  the  Sabbath.  Thunder  and  Lightning. 

FRANKLIN 
I'm  truly  sorry,  sir. 

KEIMER 
Sorry  won't  mend  it.     You'll  leave  my  shop.     I'll 

not  be  served  by  a  half-witted  lout  who 

(Sound  of  coach  wheels  without) 
Isn't  that  the  sound  of  coach  wheels?     Is  that  his 
lordship  ? 

(A  coach  passes  and  some  one  within  it  bows  to 

Keimer) 
My  lord!    Your  lordship's  very  humble  servant! 

(Keimer  bows  rapturously  again  and  again) 
What  a  bow  he  gave  me!    There's  not  a  tradesman 
in  Philadelphia  that  has  the  friends  that  I  have. 

(He  comes  back  into  the  room  mollified  and  smil 
ing) 
Get  to  your  work,  you  rogues. 

(To   Franklin) 

And  you,  if  there's  another  such  happening  as  this 
you  quit  my  roof !    Understand  ? 
(He  turns  to  Deborah) 


74  FRANKLIN 

'Tis  lucky  I  wore  my  best!  One  never  knows  who 
may  be  passing.  Fetch  me  a  mirror,  Deborah. 

(Deborah  brings  one  from  behind  the  counter. 
Austin,  Potts  and  Bretelle  exeunt  background 
with  papers) 

DEBORAH 
Here  it  is,  Mr.  Keimer.     You're  all  dressed  up. 

KEIMER 
You  think  I  look  well,  Debbie? 

DEBORAH 
Splendid. 

KEIMER 
Then  maybe  I'll  get  what  I'm  after. 

DEBORAH 
I  hope  so,  whatever  it  is. 

KEIMER 

Tend  shop  while  I'm  out  and  see  that  no  customers 
escape  you.  Ther're  so  few  coming  we  can't  afford 
to  lose  'em. 

DEBORAH 
Of  course  we  can't.     I'll  do  my  best,  Mr.  Keimer. 

KEIMER 
Just  kind  of  smile  and  make  'em  buy,  eh? 


FRANKLIN  75 

DEBORAH 
I'll  try  to. 

KEIMER 
(To  Franklin) 

Print  the  bills  for  the  India  Company,  and  take 
them  to  their  owners. 

(Exit  Keimer,  background.  Deborah  comes 
down  to  bench.  The  shabby  black  mourning 
she  is  wearing  makes  her  look  somewhat  pale 
and  forlorn) 

DEBORAH 

(As  Franklin  comes  to  bench) 

Dear  blunderer!  I  know  you  didn't  mean  to  make 
that  terrible  mistake.  Why,  all  these  weeks  you  haven't 
been  yourself.  You've  been  living  in  a  dream.  You 
hardly  hear  me  when  I  speak  to  you. 

FRANKLIN 

I  was  a  thousand  miles  away  when  I  set  that  type. 
I  never  thought  of  Keimer  and  his  printing  press.  If 

you  knew  what  I'm  trying  to  do 

(Stares  before  him  at  something  she  does  not  see) 

DEBORAH 
Is  it  some  new  world  you  want  to  conquer,  Ben? 

FRANKLIN 

Yes.  A  new  world.  One  that  in  a  hundred  years 
will  make  this  old  world  over. 


76  FRANKLIN 

DEBORAH 
Isn't  this  old  world  hard  enough? 


FRANKLIN 

So  hard  I  want  to  make  it  easier.  It's  a  new  dis 
covery  I  aim  at,  the  like  of  which  we've  never  dreamed. 
For  weeks  I've  thought  of  nothing  else,  I've  dreamed 
of  nothing  else.  I've  worked  in  secret. 

(Indicates) 
My  tools  are  there,  behind  that  sacking. 

DEBORAH 
(Bewildered) 
Your  tools 

FRANKLIN 

You  are  the  only  one  I  can  talk  to.  No  one  else 
would  believe  me. 

DEBORAH 
But  what  is  this  thing  that  you  want  to  discover? 

FRANKLIN 

It's  a  wonderful  and  terrible  force,  and  I  want  to 
find  the  way  to  transmute  it. 

DEBORAH 
(Puzzled) 
And  where  can  it  be  found? 


FRANKLIN  77 

FRANKLIN 

It's  in  the  greatest  and  humblest  manifestations  of 
nature.  It's  in  the  lightning  in  the  summer,  and  in  a 
cat's  fur  when  you  stroke  it  in  the  winter. 

DEBORAH 
In  the  lightning  in  the  summer,  and  in  a  cat's  fur 

in  the  winter Oh,  my  poor  Ben!     You've  been 

studying  too  hard!    You're  feverish! 

FRANKLIN 

I've  thought  of  a  way  to  transmute  it.  It's  so 
simple  that  no  one  has  ever  dreamed  of  doing  it,  and 

so  big  with  possibilities  that  I  can't  see  them  all 

(Stares  before  him) 

DEBORAH 

Have  you  been  out  in  the  sun  without  your  hat? 
Ah,  you  won't  listen  to  my  warnings,  and  even  your 
brains  can't  stand  such  heat! 

FRANKLIN 

My  new  discovery  may  light  our  streets  with  a  light 
brighter  than  torchlight. 

DEBORAH 
But,  Ben 

FRANKLIN 
It  may  run  our  carriages  without  horses. 


78  FRANKLIN 

DEBORAH 

Run  our  carriages  without  horses — oh,  you're  get 
ting  worse! 

FRANKLIN 

(Obsessed  by  what  he  sees  in  his  mind's  eye) 
It  may  even  turn  the  wheels  of  trade  without  man's 
help. 

DEBORAH 

(Starting  away  from  him) 
Ben!     You're  talking  witchcraft! 

FRANKLIN 

I  believe  I've  found  a  way  to  transmute  this  power 
if  I  can  make  a  piece  of  metal  float  in  the  air. 

DEBORAH 

A  piece  of  metal  float  in  the  air!  Oh,  don't  be 
angry  with  me,  but  was  there  ever  insanity  in  your 
family  ? 

FRANKLIN 

And  then  if  a  storm  would  come!  The  almanac 
prophesies  it. 

DEBORAH 
W-what  has  a  storm  to  do  with  it? 

FRANKLIN 
.Everything.    It's  only  in  a  storm  that  I  can  prove  it. 


FRANKLIN  79 

DEBORAH 
No!    This  is  not  witchcraft!    This  is  lunacy! 

(Coming  to   him} 

'Tis  your  poor  wits!  But  you  can  trust  me.  I'll 
shelter  you  and  shield  you.  I  won't  let  any  one  know. 

FRANKLIN 
(With  intensity) 

It's  such  anxious  waiting!  Oh,  if  a  storm  would 
only  come! 

(Rises  impatiently  and  begins  to   walk   up  and 
down) 

DEBORAH 

Ben,  dear,  rouse  yourself.  Try  to  shake  off  this 
thing  that's  besetting  you. 

FRANKLIN 

What  are  jeers  and  scorn,  or  fatigue  and  hunger 
when  I  have  a  hope  like  this  shining  before  me.  To 
discover  what  no  one  else  has  discovered!  To  dare 
what  no  one  else  has  dared! 

DEBORAH 
(In  despair) 

It's  no  use!  He  doesn't  even  hear  me.  There's 
nothing  I  can  do. 

FRANKLIN 
I  told  you  a  printing  press  might  be  a  ladder  to 


So  FRANKLIN 

the  stars.  What  if  I  could  reach  out  and  touch  the 
stars  themselves?  I'm  on  the  edge  of  a  discovery  that 
transcends  everything  I've  ever  hoped,  a  discovery  that 
will  serve  man  to  the  end  of  time.  It's  like  an  omen 
for  the  future.  I'm  staking  everything  on  it.  Who 
knows!  If  I  can  succeed  in  this  I  can  succeed  in  all 
the  rest.  There's  nothing  that  I  will  be  afraid  to 
attempt!  But  if  I  fail  in  this 

DEBORAH 

I  will  be  here  to  comfort  you,  my  poor  demented 
lover ! 

FRANKLIN 

If  I  can  prove  this  dream  of  mine  a  fact  there's  noth 
ing  in  my  future  that  I  fear  to  ask  you  to  share.     If 

this  comes  true 

(Enter  Rogers,  background) 

ROGERS 
Give  you  good  day,  Mistress  Deborah. 

DEBORAH 
Oh,  Mr.  Rogers.     Good  day. 

ROGERS 

(Eyeing  Franklin f  coldly) 

Mr.  Keimer's  apprentices  seem  to  have  as  much  time 
as  their  master. 


FRANKLIN  81 

FRANKLIN 

(Suddenly  remembering) 

I  clean  forgot  the  bills  for  the  East  India  Company! 
Keimer'll  be  back  before  they  are  delivered! 

(He  runs  to  press,  and  begins  to  tie  up  bills) 

ROGERS 
I  met  Mr.  Keimer.     He  bid  me  wait. 

DEBORAH 
Wait  in  the  house,  then.    'Tis  far  more  comfortable. 

ROGERS 
(Frowning) 
I  will  wait  here. 

DEBORAH 

(  Taking  up  her  work  with  an  air  of  detachment) 
As  you  please,  Mr.  Rogers. 

(Exit  Franklin,  background  with  bills) 

ROGERS 
(Menacing) 

I'm  not  a  fool.  I  see  which  way  the  wind  is  blow 
ing.  I  knew  what  I  should  find  if  I  came  here  to-day, 
and  I'm  prepared  for  it. 

DEBORAH 

(Letting  fall  her  work) 
What  do  you  mean? 


82  FRANKLIN 

ROGERS 

Your  guardian  may  be  blind,  but  I  see  which  way 
the  wind  is  blowing.  You're  giving  your  favors  to 
a  cracked-brain  prentice. 

DEBORAH 
(Indignant) 
Mr.  Rogers! 

ROGERS 

You've  let  this  scullion  printer  turn  your  head.  A 
beggarly  young  whelp  from  nobody  knows  where! 

DEBORAH 

From  every  one  knows  where.  Ben  Franklin  is 
as  open  as  the  day.  Every  one  knows  his  history,  and 
where  he  came  from.  Which  is  more  than  folk  can 
say  of  you. 

ROGERS 
(Furious) 
Who's  been  talking  to  you? 

DEBORAH 
No  one. 

ROGERS 

(Taking  another  tack) 

Wait  till  Mr.  Keimer  hears  of  your  fine  love  ro 
mance. 


FRANKLIN  83 

DEBORAH 
(Proudly) 

I've  never  tried  to  hide  it.  'Tis  nothing  to  be 
ashamed  of.  I  am  proud  of  it. 

ROGERS 

Are  you  such  a  fool  as  to  waste  your  heart  on  a 
beggar  when  a  man  of  substance  wants  you  ? 

DEBORAH 

Mr.  Rogers!  Please!  I'm  tending  shop  for  Mr. 
Keimer,  and  I  don't  wish  to  be  forced  to  leave. 

ROGERS 

You  will  be  forced  to  leave  if  the  times  don't  mend. 
'Tis  not  five  months  since  your  people  died  of  the  fever, 
and  now  your  guardian's  losing  money  every  day. 
What  will  become  of  you? 

DEBORAH 
(With  dignity) 

Mr.  Rogers,  Mr.  Keimer  is  my  guardian,  and  though 
my  parents  died  without  leaving  me  money,  I  feel  that 
my  services  to  Mr.  and  Mrs.  Keimer  give  me  a  right 
to  a  place  in  their  household. 

ROGERS 

You  should  have  a  household  of  your  own.  I've 
money  enough  to  buy  and  sell  half  the  petty  merchants 


84  FRANKLIN 

of  this  town.     Hang  it,  Deborah!    I'm  not  bad  look 
ing,  and  I  haven't  got  the  plague. 
(He  comes  close  to  her) 

DEBORAH 
Mr.  Rogers 

ROGERS 

You  know  your  people  wanted  you  to  marry  me. 
They  liked  me  as  much  as  they  hated  Franklin.  You're 
wasting  your  heart  on  a  brain-sick  fool  while  a  real 
man  wants  you,  and  I'm  going  to  have  you! 

(He  crushes  her  to  him,  kissing  her.  Keimer  en 
ters  from  background  as  she  wrenches  herself 
free) 

DEBORAH 

(Breathlessly  indignant) 
Mr.  Keimer! 

KEIMER 

Well,  Debbie,  what's  so  terrible  about  a  kiss?  Don't 
be  a  prude,  girl.  Go  and  tell  Mrs.  Keimer  I'll  be  with 
her  presently. 

(Exit  Deborah,  left) 

ROGERS 
How  are  things  going,  Keimer? 

KEIMER 

(With  an  effort  at  bravado) 
How  should  they  go? 


FRANKLIN  85 

ROGERS 

There  are  only  two  reasons  for  a  man's  wearing 
his  sabbath  clothes  on  a  week  day.  Either  he's  making 
money,  or  he's  trying  to  get  a  loan,  and  by  the  sight 
of  your  face  when  you  came  in,  you  didn't  get  the  loan. 

KEIMER 

A  man  who  has  a  lord  for  his  patron  can  look  as 
he  pleases. 

ROGERS 

A  lord  for  his  patron — then  you  haven't  heard  the 
news? 

KEIMER 
News? 

ROGERS 

Sir  William's  stolen  a  march  on  the  good  folk  of 
Philadelphia.  He  sailed  for  London  this  morning. 

KEIMER 

Sir  William  sailed?  You're  trying  to  frighten  me. 
It  isn't  true. 

ROGERS 

It  is  true,  Keimer.  He  passed  in  his  coach  not  half 
an  hour  ago.  Ask  the  wharf  master  if  you  doubt  me. 
I  saw  him  sail. 

KEIMER 
Why,  this  means — this  means — ruin! 


86  FRANKLIN 

ROGERS 

Keimer,  if  I  were  to  give  you  fifty  pounds,  give, 
not  lend  it  to  you,  would  it  help  you? 

KEIMER 
(Fiercely) 
What  do  you  mean? 

ROGERS 
Would  it  help  you? 

KEIMER 

(Almost  beside  himself) 
It  would  save  me — it  would 

ROGERS 
The  money  is  yours  on  one  condition. 

KEIMER 
(Joyfully) 
Name  it! 

ROGERS 
I  marry  Deborah  to-day. 

KEIMER 
You  what? 

ROGERS 
I  marry  Deborah  to-day. 


FRANKLIN  87 

KEIMER 

Too  quick.  It  can't  be  managed  like  that.  Give 
me  ten  days,  a  week.  Good  Lord,  man,  what's  your 
haste  ? 

(Outside  the  sky  has  become  gradually  overcast 
and  the  wind  is  rising.  As  the  scene  proceeds 
rain  begins  to  fall,  and  it  grows  darker  and 
darker.  Keimer  and  Rogers  are  too  absorbed 
to  notice  it) 

ROGERS 
To-day.    Before  you  have  a  scandal  on  your  hands. 

KEIMER 
A  scandal ! 

ROGERS 

If  you  hadn't  been  so  blind — always  thinking  of 
your  patron — you  would  have  seen  that  Deborah  is 
head  over  heels  in  love  with  that  cracked-brained  jour 
neyman  of  yours,  Ben  Franklin. 

(Keimer  starts) 
To-morrow  or  the  next  day  she  may  be  off  with  him. 

KEIMER 
Impossible ! 

ROGERS 
Do  you  want  her  to  marry  a  madman? 


88  FRANKLIN 

KEIMER 
Mad?    How  can  you  prove  him  mad? 

ROGERS 

Last  night  with  these  very  eyes  didn't  I  see  him 
running  up  and  down  in  Peter  Folger's  field  when 
there  was  nothing  to  run  for? 

KEIMER 

That  isn't  proof  enough.  No.  No.  I  tell  you 
I  won't  risk  it. 

ROGERS 
It  can,  and  shall  be  done.    I've  fetched  Mallory. 

KEIMER 
What? 

ROGERS 

Aye,  Mallory,  the  winking  parson.  He's  in  there 
now  with  Mrs.  Keimer.  He's  winked  at  fifty  just 
such  marriages  as  this  and  no  harm  done. 

KEIMER 
What  if  Deborah  refuses  to  say  her  lines? 

ROGERS 

You  and  Mrs.  Rogers  are  the  two  witnesses  who'll 
swear  you  heard  her  say  them. 


FRANKLIN  89 

KEIMER 


No! 


ROGERS 

Do  you  want  your  shop  sold  over  your  head?  Do 
you  want  Mrs.  Keimer  on  the  streets  and  yourself  in 
a  debtor's  prison?  Do  you  want  to  fail  when  the 
money  is  here  before  your  eyes? 

(  Takes  out  a  dust-colored  bag  with  sovereigns  in 
it) 

KEIMER 

It's  not  enough  to  say  that  he  is  crazed.  I  must  be 
able  to  give  some  proof  of  it,  a  proof  that  every  one 


ROGERS 

Fifty  pounds,  Keimer.    You  won't  get  such  an  offer 
again. 

KEIMER 
(Torn) 
I  tell  you  I 

POTTS 

(Rushing  in  through  door,  background') 
Come,  lads!     Into  the  ark  with  you!     "Tis  Noah's 
flood  that  loosed! 

(Bretelle  and  Austin  run  in,  dripping) 


90  FRANKLIN 

AUSTIN 
Lord!     What  a  downpour! 

(A  flash  of  lightning  and  a  crash  of  thunder) 

POTTS 
Harken  to  that! 

(They  close  the  door  in  background.     Austin  at 

window  ) 

The  rain  is  less  but  the  wind  is  more!     Whoop! 
That  was  blast! 

BRETELLE 
(To  Keimer) 
'Tis  a  very  hurricane,  M'sieu! 

(Printers  run  back  to  their  work.  At  this  point 
the  door  is  burst  open  from  without  and 
Franklin  dashes  in,  sopping  wet,  and  in  a  high 
state  of  excitement) 

FRANKLIN 

A  storm!    A  storm  at  last!    Out  of  my  way,  Bre- 
telle! 

(Pushes  Bretelle  aside) 
Can't  you  let  me  pass,  Potts! 

(Whirls  Potts  out  of  his  way) 
I  want  my  kite! 

(Snatches  kite  from  behind  sacking.     Runs  hand 

into  pocket) 
But  where's  my  piece  of  metal? 

(Looks  madly  about  him) 
Where's  my  piece  of  iron? 


FRANKLIN  91 

POTTS 
Well,  he  is  crazed  for  certain! 

FRANKLIN 

(Looking  about  him  frantically) 
A  piece  of  metal!     I've  got  the  silk  cord  and  the 
hempen  string.     But  I  can't  find  a  piece  of  iron. 

(Sees  huge  key  in  door  and  wrenches  it  out  of  the 

lock  before  any  one  can  stop  him) 
The  key! 

(Holds  it  up,  exultantly) 
The  iron  key!    I'll  fasten  it  on  my  kite! 

(He  dashes  out  the  door.  There  is  a  flash  of 
lightning  that  shows  him  in  silhouette  running 
with  his  kite) 

ROGERS 

What  did  I  tell  you,  Keimer?     Doesn't  this  prove 
him  crazed? 

KEIMER 

(With  conviction) 
You're  right.     He  should  be  in  a  madhouse. 

ROGERS 
(Significantly) 
Then  what  we  spoke  of  is  a  bargain? 

KEIMER 
Yes.     I'll  do  my  part  if  you'll  do  yours. 


92  FRANKLIN 

ROGERS 

I'll  do  it  fast  enough. 
(Gives  him  money) 
Here's  what  I  promised  you. 

(Enter  Deborah,  left.     Stands  at  the  top  of  the 
steps) 

DEBORAH 

Mr.  Keimer.  Come  quickly.  Mrs.  Keimer's  so 
afraid  of  the  lightning  that  even  Parson  Mallory  can't 
quiet  her. 

KEIMER 

I'm  coming,  Debbie.     Go  in.     Go  in. 
(Exit  Deborah) 

ROGERS 

It  couldn't  happen  better.  'Twill  take  but  a  few 
moments.  Come,  man!  Remember  it's  to  save  your 
ward  from  her  own  folly.  Come!  It  must  be  here 
and  now,  or  not  at  all. 

KEIMER 
Aye,  that  it  must. 

(Waves  him  to  steps) 
After  you,  Mr.  Rogers. 

ROGERS 

(Bowing  clumsily) 
Nay,  after  you,  Mr.  Keimer. 

(They  exeunt,  left.     Bretelle  stares  after  them) 


FRANKLIN  93 

BRETELLE 
(Frowning) 

What's  afoot?  If  I  could  put  two  and  two  to 
gether — I  know  some  mischief  is  afoot.  Why  should 
Rogers  give  money  to  Keimer  when  Keimer's  bankrupt  ? 

POTTS 
Lord  knows! 

(He  is  not  interested) 

BRETELLE 

"It  must  be  here  and  now,  or  not  at  all."  What 
does  it  mean? 

AUSTIN 

I  can't  tell  you,  Frenchy.  I  wish  we  had  a  glim 
mer  o'  fire.  I'm  wet  to  the  skin. 

BRETELLE 

And  Parson  Mallory,  the  winking  parson,  he  never 
comes  here.  But  now — !  Mon  Dieu!  Lads,  I  have 
it!  I  know  why  Rogers  has  given  Keimer  money. 
Rogers  wants  Deborah!  She's  being  married  to  him 
by  the  winking  parson  wnether  she  will  or  not!  I'm 
sure  of  it! 

AUSTIN 
'Tis  none  of  our  concern. 

BRETELLE 
(Fiercely) 
Aye,  but  it's  mine.    I'm  off  to  fetch  the  magistrate. 


94  FRANKLIN 

POTTS 
Not  in  this  storm! 

(He  catches  Bretelle  by  the  sleeve) 

BRETELLE 
Through  a  hundred  storms! 

(Bretelle  wrenches  himself  free  and  dashes  out) 

POTTS 
Lord  love  us!     He's  as  crazy  as  Franklin! 

(Deborah  flings  open   the  door  at  left,  and  ap 
pears  on  steps) 

DEBORAH 
(Imploring) 
Ben!     Ben! 

(Rogers  follows  her  and  seizes  her  wrists) 

ROGERS 
Come  on,  my  dear,  or  shall  I  have  to  carry  you? 

DEBORAH 
Let  go  my  hands.     Don't  dare  to  touch  me. 

(She  twists  her  wrists  out  of  his  grasp  and  runs 
down  steps) 

ROGERS 
That's  no  way  for  a  bride  to  talk  to  her  husband. 


FRANKLIN  95 

DEBORAH 
(Defiantly) 

You're  not  my  husband  and  swearing  that  I've  said 
my  lines  won't  make  it  true. 
(Keimer  enters  left) 

ROGERS 

Oh,  yes,  it  will,  my  dear.  If  folks  don't  think  it's 
legal  they've  only  to  ask  your  guardian  and  your 
guardian's  wife. 

DEBORAH 
(With  spirit) 

Not  if  I  publish  from  the  housetops  what  you've 
both  done.  You  will  be  jailed  for  perjury. 

ROGERS 

Who  will  believe  your  word  against  your  guardians  ? 
(The  truth   of  this  sweeps  over  Deborah.     S.he 
winces  as  if  she  had  been  struck) 

DEBORAH 
Oh! 

(Catches  her  breath) 

You're  all  in  league  against  me!  But  Ben  will 
help  me.  He  won't  see  this  happen.  Oh,  Ben !  Ben ! 

KEIMER 
(Sneering) 
Aye,  call  on  Ben,  and  see  if  a  madman  can  aid  you! 


96  FRANKLIN 

ROGERS 

You  come  with  me.  I'll  teach  you  a  wife's  duty 
to  her  husband. 

(As  Rogers  starts  toward  Deborah ,  Franklin 
rushes  in  from  background.  He  is  in  an  ex 
alted  state  of  joy  and  excitement.  From  now 
on  his  dreamy  manner  is  entirely  gone.  He 
feels  himself  master  of  himself  and  his  destiny. 
He  stands  in  the  doorway  drenched  with  rain, 
his  kite  trailing  on  his  arm,  his  face  uplifted 
and  glorified.  Outside  only  sheet  lightning  is 
now  playing  as  a  background  of  darkness  shot 
with  pale  flame) 

DEBORAH 
Oh,  Ben! 

FRANKLIN 

Deborah,  it's  true!  All  that  I  hoped!  All  that  I 
dreamed!  My  discovery's  a  fact.  We  can  transmute 
electricity!  We  can  bring  the  lightning  to  earth  and 
make  it  the  servant  of  man!  Out  in  that  storm  with 
my  kite  and  my  key  I've  learned  a  wonderful  secret, 
a  secret  that  will  revolutionize  science.  The  key  was 
all  blue  flame!  The  shock  of  the  current  ran  down 
my  arm  and  burned  my  hand!  Look!  It's  a  mark 
set  by  one  of  the  greatest  forces  of  the  universe !  What 
has  been  done  this  hour  will  last  till  the  world  is  dust ! 
It  will  work  miracle  after  miracle!  Don't  you  see 
what  this  means  for  me !  I  can  make  all  the  rest  come 
true!  I  can  ask  you  to  share  my  future! 


FRANKLIN  97 

(In  the  midst  of  his  joy  and  excitement  he  becomes 
aware  of  a  chilly  silence  on  the  part  of  those 
in  the  room  with  him.  Deborah  looks  toward 
him  tremulously f  but  says  nothing.  Franklin 
checks  his  torrent  of  words  and  takes  a  step 
toward  Deborah.  Rogers  starts  forward  to  in 
tercept  him) 
Deborah,  don't  you  care? 

ROGERS 
Stand  away  from  my  wife,  you  wastrel! 

FRANKLIN 
Your  wife !    What  folly  is  this  you're  speaking  ? 

ROGERS 

My  wife.     Married  to  me  as  fast  as  bell  and  book 
can  make  it! 

DEBORAH 

It's  not  true.     They  couldn't  force  me  to  say  my 
lines. 

KEIMER 

Be  silent.     If  you  don't  hold  your  tongue  I'll  tell 
why  you  were  forced  to  marry  Rogers. 

FRANKLIN 

(Outraged,  stepping  toward  him,  hands  clenched} 
You — carrion. 


98  FRANKLIN 

DEBORAH 
(Imploring) 

Ben!     You'll  be  jailed  if  you  strike  your  master. 
Remember  that  I  need  you. 

FRANKLIN 

(To  Keimer,  struggling  for  self-control) 
If  it  wasn't  for  that  need  I'd  break  every  lying  bone 
in  your  body,  though  I  swung  for  it  the  next  day. 

ROGERS 

Come,  Deborah.    'Tis  time  we  were  setting  out. 
(Deborah  shrinks) 

FRANKLIN 

No.      She  stays   here.      Don't   be   afraid    of   him, 
Deborah. 

ROGERS 
Who  are  you  to  come  between  man  and  wife? 

FRANKLIN 
Ben  Franklin,  printer,   at  your  service. 

(Places  himself  in  front  of  door,  background) 
If  you  try  to  cross  this  threshold  with  Deborah  you'll 
find  me  ready. 

ROGERS 
(Sneering) 
Quakers  don't  fight. 


FRANKLIN  99 

FRANKLIN 
This  Quaker  does. 

POTTS 

He's  got  a  grip  like  iron,  Mr.  Rogers.     Don't  go 
near  him. 

(Enter  Bretelle  with  woman  from  background) 

BRETELLE 

Make  way  here!     Make  way!     There's  some  one 
would  speak  with  Mr.  Rogers. 

(To  Deborah) 

I  won't  see  you  come  to  sorrow,  Mistress  Deborah. 
I've  been  to  the  magistrate's. 

(Rogers  turns,  looks  at  woman,  is  startled  and 
then  comes  to  himself) 

ROGERS 
I've  nothing  to  give  to  beggars. 

(The  woman  still  stands  looking  at  him) 
Be  off. 

(She  makes  no  move  to  go) 
Why  do  you  stand  here? 

WOMAN 

(Slowly  and  distinctly) 
You  know  why. 

ROGERS 
Be  off,  I  tell  you. 


ioo  FRANKLIN 

WOMAN 

Not  unless  you  go  with  me.  You  broke  one  woman's 
'eart,  and  now  you're  trying  to  break  another.  I've 
crossed  the  seas  to  find  you.  It's  not  your  fault  I'm  not 
dead  by  now. 

KEIMER 
Get  out  of  here.     March! 

WOMAN 
I'm  that  man's  wife  and  'e  knows  it. 

ROGERS 
You  lie! 

WOMAN 
I  knew  you'd  say  that. 

BRETELLE 

It's  the  truth  she's  speaking.  She's  laid  her  proofs 
and  letters  before  the  magistrate. 

FRANKLIN 

(His  hand  on  Eretelles  shoulder) 
How  shall  we  ever  thank  you  for  this,  Bretelle! 

WOMAN 
I  want  justice. 


FRANKLIN 

And  you  shall  have  it.  ( To  Rogers)  You  should  be 
jailed  for  this,  you  scoundrel. 

WOMAN 
Do  you  'ear  what  'e  says? 

ROGERS 

Wrong  for  once,  you  damned  meddler!  You'd  have 
me  up  for  bigamy?  Well,  ask  the  girl  herself.  She'll 
tell  you  she  never  said  her  lines. 

MRS.  ROGERS 
Is  this  true? 

DEBORAH 
Every  word  of  it. 

MRS.  ROGERS 

Then  you're  a  free  woman  this  hour,  and  you  may 
thank  God  for  it.  What's  took  from  you  is  not  worth 
the  keeping.  But  I'll  'ave  my  rights  whatever  'appens. 
I'll  show  the  world  I'm  an  honest  woman,  and  lawful 
wed. 

(To  Rogers) 

Will  you  come  with  me  quiet  or  shall  I  tell  the  mag 
istrate  that  you're 

ROGERS 

I'll  come  with  you  quiet,  you  damned,  sneaking  jade. 
And  I'll  pay  you  for  this  later. 


io2  "FRANKLIN 

FRANKLIN 

She  came  in  the  back  door  to  get  you.  Now  let  her 
go  out  the  front  door  as  an  honest  woman  should. 

(Rogers  and  Mrs.  Rogers  exeunt  left.     Franklin 

turns  to  Keimer) 

And  as  for  you,  you  sordid  perjurer,  do  you  know 
what  it  means  to  force  a  marriage  under  the  laws  of 
Philadelphia? 

KEIMER 

(Keeping  behind  counter) 

And  do  you  know  what  it  means  to  take  the  key  of 
a  man's  house?  'Tis  a  prison  offense.  You  that  prate 
of  law  remember  that  I  can  have  the  law  on  you. 

FRANKLIN 
(With  power) 

I  took  a  key.  You  tried  to  take  a  woman's  reputa 
tion.  Because  she  was  poor  you  sold  her.  Because 
she  was  helpless  you  tried  to  smirch  her,  you 

KEIMER 
Leave  my  house! 

FRANKLIN 

Deborah,  come.  We'll  find  another  parson  and  be 
truly  married. 

KEIMER 

Without  the  consent  of  her  guardian,  the  marriage 
will  be  illegal. 


FRANKLIN  103 

FRANKLIN 

Deborah,  no  matter  what  the  law  can  do,  no  mat 
ter  what  people  say,  will  you  come  to  me? 

DEBORAH 

No  matter  what  the  law  can  do,  no  matter  what 
people  say,  I — come  to  you. 

FRANKLIN 

(Tenderly  looking  down  at  her} 
And  you  don't  think  me  a  madman? 

DEBORAH 

I  don't  know.     I  don't  care.     I  only  know — with 
you — I'm  not  afraid. 

(As  they  step  out  the  door  where  the  rain  has 
ceased,  a  rainbow,  like  aw  omen  of  hope  glows 
across  the  sky) 

CURTAIN 


ACT  III 

Scene:  Franklin's  home  in  Philadelphia  twenty  years 
later. 

A  Colonial  room,  white  woodwork.  Gray  walls. 
Two  French  windows  in  background,  opening  on  iron 
balconies.  On  each  side  of  these  windows  draperies  of 
Italian  blue  cotton  poplin.  The  few  pieces  of  furni 
ture  which  the  room  contains  are  mahogany,  with  here 
and  there  a  touch  of  the  same  blue  repeated  in  a  cushion. 

Glass  candlesticks  on  hearth  shelf.  Between  them 
a  blue-toned  picture.  The  whole  room  is  stamped  with 
an  air  of  frugality  and  simplicity. 

Blue  bell  ropes  at  right  and  left.  Also  at  right  and 
left,  toward  background^  doors  giving  into  other  rooms 
of  the  house. 

A  fire  burns  in  the  hearth  at  left. 

In  the  center  of  the  room  a  stout  table  with  Leyden 
jars  beneath  it,  and  an  electrical  apparatus  on  top  of 
the  table  that  can  easily  be  concealed  by  books  and 
papers. 

Four  members  of  the  Philadelphia  Assembly,  Mr. 
Knox,  Mr.  Andrews,  Mr.  Braithwaite,  and  Mr.  Mur 
ray  are  seated  about  the  table.  Dr.  Franklin,  now  a 
middle-aged  man,  yet  with  vitality  and  genius  in  his 
aspect,  sits  at  the  table,  back,  center.  There  is  a  hub 
bub  of  voices  as  the  curtain  rises.  "Give  me  the  list." 

104 


FRANKLIN  105 

"You've  read  the  new  amendment?"  etc.,  etc.     Dr. 
Franklin  rises. 

FRANKLIN 

Gentlemen,  I  think  that  this  is  all  we  have  time  for. 
Our  recess  is  nearly  over.  They'll  be  expecting  us  at 
the  Assembly. 

ANDREWS 

(As  men  gather  up  their  papers  previous  to  de 
parture) 
And  wishing  they  could  hang  us. 

FRANKLIN 

You  must  take  that  as  a  compliment  to  our  sagacity. 
The  members  of  the  King's  party  realize  that  we  will 
move  heaven  and  earth  to  have  Galloway  chosen  as  our 
agent.  Everything  depends  on  sending  a  patriot  to 
petition  the  King  of  England. 

MURRAY 
Dr.  Franklin 

FRANKLIN 

(Sweeping  on) 

He  must  plead  the  urgency  of  our  cause.  Pitt,  Fox, 
Burke — great  leaders  of  England,  favor  us.  But  the 
king  hates  us,  and  those  who  wish  to  stand  well  with 
him  hate  us  also.  Always  we  must  bear  in  mind  that 
the  king  is  not  an  Englishman.  He  is  from  Hanover. 
Remember  that. 


io6  FRANKLIN 

KNOX 

BRAITHWAITE 
Dr.  Franklin 

FRANKLIN 
Mr.  Knox. 

KNOX 

I'd  follow  you  blindfold  through  hell,  but  I  must 
say,  sir,  that  I  consider  it  a  hazardous  thing  for  a  small 
nation  to  shake  its  fist  in  the  face  of  a  big  nation. 

FRANKLIN 
Do  you  read  the  Scriptures,  Mr.  Knox? 

KNOX 
I  do,  sir. 

FRANKLIN 

Then  you  must  know  the  chapter  where  David  put 
out  Goliath's  eye. 

(The  men  approach  Franklin  separately  as  they 
leave) 

MURRAY 
We'll  fight  for  Galloway  to  the  last  ditch,  sir. 

FRANKLIN 

I  hope  you  will.     I  know  you  will. 
(Murray  and  Knox  move  to  door  R.) 


FRANKLIN  107 

BRAITHWAITE 
You're  coming,  Dr.  Franklin? 

FRANKLIN 
A  little  later,  Mr.  Braithvvaite. 

BRAITHWAITE 
I  wish  you  were  on  the  Committee,  sir. 

FRANKLIN 

My  opponents  have  tied  my  hands  by  keeping  ne  off 
it.     But  not  my  tongue. 

ANDREWS 

When  next  we  meet,  Dr.  Franklin,  may  it  be  in 
triumph. 

FRANKLIN 
From  my  heart  I  hope  so. 

(As  the  members  of  the  Assembly  exeunt,  Deborah 
enters,  left.  She  still  retains  her  sparkling 
glance.  Her  dark  hair  is  faintly  touched  with 
gray.  She  comes  to  Franklin  with  proof  sheets 
in  her  hand,  gives  a  quick  look  to  see  that  she 
is  not  overheard,  sees  that  the  men  who  are 
leaving  are  deep  in  talk) 

DEBORAH 

How  are  things  going,  Ben?    You  are  looking  anx 
ious. 


io8  FRANKLIN 

FRANKLIN 

I  am  anxious.  You  know  the  Assembly  voted  to 
send  an  agent  to  petition  the  King  of  England  against 
unjust  taxation,  and  I  suggested  Galloway,  a  loyal 
man,  a  sincere  patriot.  Everything  was  going  as  I 
hoped  when  suddenly  the  leader  of  the  King's  party 
suggested  Dickinson 

DEBORAH 
Dickinson 

FRANKLIN 

Dickinson,  who's  a  tool  of  theirs,  a  puppet,  who 
would  betray  America  at  his  first  chance.  If  the  As 
sembly  chooses  Dickinson  it  will  be  such  a  calamity 

that 

(Breaks  off) 

But  I  won't  think  it — I  can't  think  it. 
(He  begins  to  walk  up  and  down) 

DEBORAH 
Is  there  nothing  any  one  can  do? 

FRANKLIN 

You  can  give  this  paper  to  Mr.  Adams  if  he  calls 
for  it.  It's  a  list  of  the  resolutions  for  the  Assem 
bly. 

(Deborah  puts  it  in  jar  on  desk) 

DEBORAH 

I've  been  correcting  the  proofs  of  your  article  against 
unjust  taxation. 


FRANKLIN  109 

FRANKLIN 
You  shouldn't  work  on  your  birthday. 

DEBORAH 
As  long  as  I  can't  have  my  present 

FRANKLIN 

You  shall  have  your  present  at  seven  precisely. 
You  weren't  born  till  seven,  you  know. 

DEBORAH 
Will  I  like  it? 

FRANKLIN 
You'll  adore  it. 

(He  is  putting  the  proof  sheets  on   table,  and 

quickly  places  his  hand  over  hers) 
Take  care.     That  metal  box  is  charged  with  elec 
tricity. 

DEBORAH 

I  shan't  go  near  it.  I'm  not  convinced  that  your 
strange  discovery  isn't  necromancy. 

FRANKLIN 

That's  what  the  world  thinks,  too.  The  world  that 
deemed  me  crazy  when  I  flew  a  kite  in  a  thunderstorm. 
That's  why  I'll  have  to  keep  my  experiments  a  secret 
until — ah,  come  in,  Richard. 

(Enter  right,  young  Richard  Austin,  very  much 
like  his  father,  save  that  he  shows  the  results 


no  FRANKLIN 

of  ease  and  education.    He  has  charm,  enthu 
siasm  ) 

RICHARD 

May  I  offer  greetings  to  you  both,  and  a  special 
greeting  to  you,  Mistress  Franklin?    Many  happy  re 
turns  of  the  day  from  my  father  and  myself. 
(Presents  frilled  bouquet) 

DEBORAH 

Thank  you  both,  my  dear  Richard.  You're  the 
image  of  what  your  father  was  at  your  age.  The  very 
image.  Did  you  wish  to  speak  to  my  husband  ? 

RICHARD 
Yes. 

(Turns) 

I  want  to  offer  my  services  in  the  present  crisis.  I 
hear  that  you  said  at  the  Assembly  that  at  a  time  like 
this  leaders  were  needed,  men  with  sagacity  and  fore 
thought. 

FRANKLIN 
Yes.     Aren't  you  rather  young? 

(He  and  Deborah    exchange  amused  glances  as 
scene  proceeds) 

RICHARD 

I  shall  be  nineteen  in  April,  and  besides  it  isn't  years 
that  count,  it's  forethought. 


FRANKLIN  in 

FRANKLIN 

I  see.  You  are  familiar  with  our  measures  in  the 
Assembly  ? 

RICHARD 

It  is  rumored  that  you  want  to  send  Galloway  to 
England,  but  I  can't  see  that  it's  so  terribly  important. 
There  is  one  great  thing  that  has  been  overlooked. 

FRANKLIN 
Ah! 

RICHARD 

Suppose  Galloway  is  chosen.  Suppose  he  does  peti 
tion  the  King.  And  suppose  the  King  doesn't  listen. 
What  then? 

(He  delivers  this  speech  with  the  air  of  a  master 
strategist) 

FRANKLIN 
You  think  I'm  flying  a  kite  in  a  thunderstorm? 

RICHARD 
(A  bit  confused) 
No — that  is — I 

FRANKLIN 
(Kindly) 

You  didn't  dream  that  there  might  be  more  than  a 
petition?  Sit  down,  Richard.  I'll  tell  you  what  I  told 


ii2  FRANKLIN 

a  secret  meeting  of  patriots  two  months  ago.     If  the 
petition  fails  we'll  send  the  agent  to  France. 

RICHARD 
(Dazed) 
To  France 

FRANKLIN 

To  France,  who  fears  King  George  and  his  syco 
phants.  To  France,  who  might  become  our  ally. 

RICHARD 
(Still  dazed) 

But  we're  a  mere  handful,  we've  no  power,  no  pres 
tige.  How  will  France  listen? 

FRANKLIN 
She  must  be  made  to  listen. 

RICHARD 
And  who  will  make  her? 

FRANKLIN 

Galloway.  Galloway,  who  has  tact  and  courage  and 
sincerity.  That's  why  it's  so  vitally  important  that 
Galloway  be  chosen.  Now  you  see. 

RICHARD 
I  see  I've  been  a  fool. 


FRANKLIN  113 

FRANKLIN 

You  must  learn  to  follow  before  you  learn  to  lead. 
I  am  in  need  of  followers. 

RICHARD 

But  not  such  a  one  as  I  am.     Why,  I  can't  even 
think  for  myself. 

FRANKLIN 
That's  exactly  why  you're  valuable. 

(Letitia  appears  in  doorway,  right.     She  is  very 
young  and  pretty) 

LETITIA 
May  I  come  in? 

DEBORAH 
My  dear  Letitia! 

(All  turn.    Letitia  curtseys  to  Dr.  Franklin  and 
Mrs.  Franklin,  then  comes  quickly  to  Richard) 

LETITIA 
Well? 

RICHARD 
Well? 

LETITIA 
Has  nothing  happened? 


ii4  FRANKLIN 

RICHARD 
Happened  ? 

LETITIA 
(To  Franklin) 

Richard  was  sure  that  you'd  appoint  him  to  some 
thing — a  chairmanship  at  home,  or  a  secretaryship 
abroad. 

RICHARD 
(Horrified) 
Letitia! 

LETITIA 

Well,  you  said  yourself  it  was  only  a  matter  of 
letting  him  see  how  fitted  you  were 

RICHARD 
Letitia!     You've  ruined  everything! 

FRANKLIN 

If  what  I  hope  will  happen  does  happen,  I'm  not 
sure  that  a  foreign  secretaryship  isn't  a  good  suggestion. 

LETITIA 

You  mean  you'd  send  him  abroad? 
(Her  face  falls) 

FRANKLIN 
Isn't  that  what  you  wanted? 


FRANKLIN  115 

LETITIA 

It's  what  I  thought  I  wanted.    Will  he 

(With  elaborate  unconcern) 
Does  one  stay  long? 

FRANKLIN 

Five  or  six  years.     And  a  secretary  can't  marry. 
It  would  mean  waiting 

RICHARD 
But  the  opportunities  for  rising  are  great? 

FRANKLIN 
Very  great. 

RICHARD 
Letitia,  do  you  feel  that  you 

LETITIA 

(With  icy  hauteur) 
What  possible  interest  can  this  have  for  me? 

(With  a  sob  in  her  throat) 
Ambition  is  everything.    Women  are  nothing ! 

(She  turns  from  him.  Franklin  rises,  half 
amused,  half  perturbed.  Bretelle  enters  right. 
Franklin  sees  him) 

FRANKLIN 
Ah,  come  in,  Bretelle.    You  want  the  proof  sheets. 


n6  FRANKLIN 

BRETELLE 
Yes,  Monsieur. 

FRANKLIN 

(To  Richard,  clapping  Bretelle  on  the  shoulder) 

You'd  think  to  see  him  that  he  was  just  a  printer,  too 

busy  to  have  an  eye  on  politics,  and  instead — behold 

an  ardent  patriot,  working  for  our  cause  and  bringing 

us  whatever  news  he  hears. 

BRETELLE 

I  have  some  now,  Monsieur.  Lord  Rockminster 
landed  this  morning. 

(Franklin  looks  concerned) 

DEBORAH 
Is  it  bad  news,  Ben? 

FRANKLIN 

It  isn't  good  news.  Rockminster  is  a  friend  of  the 
King's.  His  presence  here  will  strengthen  the  King's 
party.  Come,  Richard. 

BRETELLE 
Good  luck,  Monsieur. 

FRANKLIN 
Thank  you,  Bretelle. 

DEBORAH 
You  know  all  that  I  wish  you. 


FRANKLIN  117 

(Franklin  looks  toward  Letitia,  who  is  at  the  fire. 
She  turns  her  head,  starts  to  speak,  cannot  con 
trol  the  quiver  of  her  lips.  Turns  away  her 
head  without  saying  anything.  Exeunt  Frank 
lin  and  Richard.  Letitia  turns  to  Deborah, 
the  traces  of  tears  on  her  face) 

LETITIA 
Oh,  Mistress  Franklin,  what  shall  I  do? 

DEBORAH 
Whatever  your  heart  tells  you. 

LETITIA 

It  doesn't  speak.  It's  frozen.  He  loves  his  work 
better  than  me!  Can't  I  go  out  the  side  entrance? 
People  might  think  I  had  been  crying. 

DEBORAH 
You'll  excuse  me,  Bretelle? 

BRETELLE 
But  certainly! 

(The  moment  they  are  gone  he  begins  to  spy 
about.  Sees  proof  on  table,  takes  two  of  the 
under  pages  and  puts  them  in  his  pocket.  He 
looks  quickly  at  some  of  the  other  papers  scat' 
tered  on  the  table.  Finds  nothing  of  value. 
Tries  to  lift  lid  of  metal  box.  The  electricity 
stings  him.  He  gives  a  smothered  cry  and 


n8  FRANKLIN 

darts  away  from  the  table.    Speaks  in  a  hoarse 
whisper) 
Black  magic!     Sorcery! 

(He  avoids  the  box  and  crosses  to  desk.  Finds 
paper  of  resolutions  but  has  no  time  to  read 
it.  Deborah  enters) 

Two  of  the  proof  sheets  are  missing,  Madam  Frank 
lin. 

DEBORAH 

That's  strange.     Ben  must  have  left  them  in  his 
laboratory.    If  you'll  wait  five  minutes? 

BRETELLE 
But  certainly! 

(Exit  Deborah,  left.  Bretelle  takes  paper  of  in 
structions,  reads  it,  swiftly  puts  it  back.  En 
ter  right,  Lord  Rockminster,  a  handsome  mant 
richly  dressed.  He  has  a  pompous  manner) 

ROCKMINSTER 
I  hear  that  Dr.  Franklin  is  not  in. 

BRETELLE 
He's  gone  to  the  Assembly. 

(With  a  quick  look  and  lowered  voice) 
The  coast  is  clear  for  at  least  four  minutes. 

ROCKMINSTER 
(Lowered  voice) 
Well? 


FRANKLIN  119 

BRETELLE 

My  lord,  for  months  I  have  spied  on  Dr.  Franklin. 
But  I  will  spy  no  longer.  He  is  in  league  with  the 
devil. 

ROCKMINSTER 

Nonsense ! 

BRETELLE 

(Indicating  metal  box  on  table  center) 
Touch  that,  my  lord,  and  see  if  it  is  nonsense. 
(Rockminster  touches  it) 

ROCKMINSTER 
(Stung) 
The  devil! 

BRETELLE 
Aye,  hell  fire,  my  lord. 

(The  two  men  look  at  each  other  gravely) 

ROCKMINSTER 

If  he  dabbles  in  black  magic  as  folks  say,  all  the 
more  reason  he  should  be  put  down.  If  he  serves  the 
devil,  you  can  wear  a  charm  against  it,  and  still  serve 
us.  Come,  Bretelle,  don't  be  a  fool.  Think  of  all  the 
money  you  are  offered,  and  the  chance  to  deliver  him 
into  our  hands. 

BRETELLE 
I  will  have  nothing  to  do  with  sorcerers. 


120  FRANKLIN 

ROCKMINSTER 

Why  should  you  fear  him?  For  years  you've  pre 
tended  to  be  his  friend.  He  likes  you.  He  trusts  you. 
You're  the  last  person  he'd  ever  suspect.  You've  given 
him  information  that  he  thinks  is  valuable.  He  be 
lieves  you  spy  for  him,  and  instead  you  spy  for  us. 
You  told  him  of  my  arrival? 

BRETELLE 
Yes,  when  it  was  too  late  for  him  to  make  a  move. 

ROCKMINSTER 

You're  succeeding  admirably.  What  more  do  you 
ask? 

BRETELLE 
You  think  a  charm  would  save  me? 

ROCKMINSTER 
I  know  it  would. 
(Indicates   box) 
Has  this  thing  ever  happened  before? 

BRETELLE 
No,  my  lord. 

ROCKMINSTER 

It  may  be  years  before  it  will  happen  again.  Beware 
of  him  when  he  makes  experiments,  avoid  this  power 
as  you  would  a  pestilence,  and  you'll  be  safe.  You'll 
serve  us? 


FRANKLIN  121 

BRETELLE 


Yes,  my  lord. 


ROCKMINSTER 

What  have  you  found? 

BRETELLE 
Dr.  Franklin's  resolutions  for  the  Assembly. 

ROCKMINSTER 

Good.    Take  this  news  to  our  Committee.    We  can 
checkmate  him. 

BRETELLE 

(Loudly) 
You  see  what  printing  does  to  one's  hands,  my  lord. 

(He  is  spreading  out  his  hands  as  Deborah  enters) 
The  acid  turns  the  flesh  black. 

DEBORAH 
Here  is  the  duplicate  proof,  Bretelle. 

BRETELLE 
I  thank  you. 

(He  takes  pages,  and  exits  right) 

ROCKMINSTER 
I  am  Lord  Rockminster.    The  servant  bid  me  wait. 

DEBORAH 
My  lord! 


122  FRANKLIN 

(Curtseys  with  a  charming  grace.     Rockminster 
bows  stiffly  ) 

ROCKMINSTER 

You  will  pardon  my  saying  that  you  are  somewhat 
different  from  what  I  expected? 

DEBORAH 
(Puzzled) 
Expected  ? 

ROCKMINSTER 
And  this  room — it's  in  quite  good  taste  for  printers. 

DEBORAH 
(Demurely) 
I'm  glad  you  think  so. 

ROCKMINSTER 
(Looking  about) 

Quite  pretty  in  fact.    Wonderful  how  the  working 
classes  thrive  in  this  country.    Simply  wonderful! 

(Enter  Franklin  right,  followed  by  Parton,  who 
leaves  candles  and  exits) 

DEBORAH 

(As  if  introducing  a  king) 
Lord  Rockminster,  this  is  Dr.  Franklin. 
( The  men  bow) 


FRANKLIN  123 

ROCKMINSTER 

I  wished  to  see  you  on  a  most  important  mission. 
May  I  be  assured  that  we  can  be  alone? 
(Looks  at  Deborah) 

FRANKLIN 

(Also  looking  at  Deborah) 
Deborah,  my  love! 

(Exit  Deborah) 
Now,  my  lord. 

ROCKMINSTER 

I  come  to  you,  sir,  on  a  most  important  errand  from 
the  Prime  Minister  of  England.  Although  you  think 
your  plans  have  been  kept  secret,  England  knows  that 
you  consider  an  appeal  to  France. 

FRANKLIN 

(With  perfect  control) 
Does  she,  my  lord? 

ROCKMINSTER 
King  George  has  watched  you  with  interest. 

FRANKLIN 
(Drily) 
Watched  is  scarcely  the  word,  my  lord. 

ROCKMINSTER 
Sir,  I  mean  what  I  say. 


124  FRANKLIN 

\ 

FRANKLIN 

(Tranquilly) 

Usually,  my  lord,  a  diplomat  means  what  he  doesn't 
say. 

ROCKMINSTER 

We  urge  you  to  give  up  these  foolish  attempts  you 
are  making — attempts  that  are  doomed  to  failure. 

FRANKLIN 

If  they  are  doomed  to  failure,  why  are  you  here, 
my  lord? 

ROCKMINSTER 
(Furious) 
Sir 

FRANKLIN 

I  will  only  appeal  to  France  if  King  George  refuses 
to  listen  to  what  I  have  to  say  against  unjust  taxation. 

ROCKMINSTER 

If  you  and  the  British  Government  could  come  to 
amicable  terms 

FRANKLIN 
What  then,  my  lord? 

ROCKMINSTER 
The  British  ministry  would  see  you  had  a  place 


FRANKLIN  125 

FRANKLIN 

The  ministry,  I  am  sure,  would  rather  give  me 
place  in  a  cart  to  Tyburn  than  any  place  whatsoever, 
and  for  a  decoration,  my  lord,  a  rope  about  my  neck. 

ROCKMINSTER 

You  misjudge  us. 

FRANKLIN 
Say  rather,  I  judge  you  too  well. 

ROCKMINSTER 
If  you  persist 

FRANKLIN 
I  shall  persist 

ROCKMINSTER 
(With  a  sneer) 
I  see  I  am  dealing  with  a  fanatic. 

FRANKLIN 

If  love  of  country  be  fanaticism,  yes,  my  lord. 
(Rockminster  turns  angrily  away  and  comes  back 
with  an  assumption  of  friendliness) 

ROCKMINSTER 

Dr.  Franklin,  I  will  be  candid  with  you.  I  do  not 
come  from  the  Prime  Minister  alone.  I  represent  a 
higher  power. 


126  FRANKLIN 

FRANKLIN 
A  higher  power? 

ROCKMINSTER 

The  Baron  de  Weissenstein. 

FRANKLIN 
(Puzzled) 
The  Baron  de  Weissenstein 

ROCKMINSTER 
One  of  the  names,  sir,  of  the  King  of  England. 

(Takes  letter  from  his  pocket) 

The  name  by  which  he  is  known  throughout  the 
diplomatic  circles  of  Europe.  Within  this  letter  he 
offers  you  any  reward  that  it  is  in  the  power  of  the 
Government  to  bestow 


FRANKLIN 

(Softly,  as  he  takes  letter) 
Reward,  my  lord? 


ROCKMINSTER 
(Mistaking  the  softness) 

Ah,  you  begin  to  see  things  in  a  new  light — you  are 
thinking 

FRANKLIN 

I  am  thinking  that  the  Baron  de  Weissenstein  had 
best  bestow  his  reward  elsewhere,  my  lord. 


FRANKLIN  127 

(Pulls  bell  rope.     Par  ton,  a  young  servant,  en 
ters) 

Parton,  his  lordship's  carriage. 
(Exit  Par  ton) 

ROCKMINSTER 

(In  a  pale  fury) 

Sir,  I  warn  you.  For  every  move  you  make,  we  will 
make  two.  We  will  outbid  you,  outrun  you,  out-gen 
eral  you.  If  you  try  for  France,  look  to  yourself,  and 
to  your  agent. 

FRANKLIN 
I  will,  my  lord. 

ROCKMINSTER 
I  trust  you  will  not  regret  this,  Dr.  Franklin. 

FRANKLIN 
I  trust  not,  my  lord. 

(Exit  Rockminster,  right.     Franklin  stands  in  a 

brown  study,  the  letter  in  his  hand) 
"If  you  try  for  France,  look  to  yourself  and  to  your 

agent " 

(Looks  again  at  letter,  musingly) 
Undated.    And  in  the  King's  handwriting. 
(Deborah  enters  left,  followed  by  Richard) 

DEBORAH 
Was  it  something  important? 


128  FRANKLIN 

FRANKLIN 
Most  important. 

(Richard  feels  from  the  tone  that  something  is 
brewing,  and  that  Franklin  and  Deborah  want 
to  talk  alone) 

RICHARD 
Shall  I  go,  sir? 

FRANKLIN 

No,  stay.  You  may  as  well  hear  it  now  as  later. 
The  British  know  I  mean  to  try  for  France.  The 
King  of  England  has  tried  to  bribe  me.  This  man, 
this  Rockminster,  has  given  new  life  to  the  King's 
party.  The  moment  I  entered  the  Assembly  I  felt  the 
change.  There's  not  a  chance  for  Galloway. 

RICHARD 
Not  a  chance! 

DEBORAH 
And  you've  no  idea  who  the  spy  is? 

FRANKLIN 
Not  the  faintest.     I  only  see  that  everything  I've 

built  for,  worked  for,  hoped  for 

(He  turns  abruptly,  his  voice  filled  with  despair. 
Stands  with  his  back  to  audience) 

DEBORAH 

(Her  hand  on   his  shoulder) 
We've  faced  black  days  before,   Ben. 


FRANKLIN  129 

FRANKLIN 
But  never  so  black  as  this. 

(Faint  sound  of  march  music  coming  nearer) 

RICHARD 

(Looking  out  of  window,  back) 
Torchlight  and  music.     Men  are  marching. 

FRANKLIN 
The  tardy  members  going  to  the  Assembly. 

DEBORAH 
Aren't  you  going,  Ben  ? 

FRANKLIN 
(Wearily) 

There's  nothing  more  that  I  can  do.  They  know 
my  wishes,  but  I  can't  impose  my  wishes  on  them. 
Richard  is  to  bring  me  word  of  their  decision. 

( Torchlight  comes  nearer.  Streams  through  win 
dows  in  background.  Cries  without  of  "Ben 
Franklin!  Speech!  Speech!") 

DEBORAH 
They're  calling  for  a  speech. 

FRANKLIN 
They  know  already  what  I  want. 

RICHARD 
And  they're  going  to  defeat  it. 

FRANKLIN 
No!    By  heaven  they  shan't  defeat  it  till  I've  struck 


130  FRANKLIN 

one  more  blow.     Lord  Rockminster  thought  he  was 

crushing  me.    Instead  he  put  a  weapon  into  my  hands. 

(He  crosses  to  window.     A  cheer  goes  up.     He 

begins  speaking) 

Men  of  the  Assembly,  Fellow  Citizens,  a  lord  who 
has  lately  landed  has  offered  me  a  bribe  if  I  will  desert 
the  cause. 

(Dead  silence  without,  then  an  angry  murmur) 
But  I've  shown  him  that  though  we're  a  young  coun 
try  and  a  poor  country,  we're  not  a  corruptible  country. 

(Cheers) 

We  know  that  taxation  without   representation   is 
tyranny.    We  know  that  if  we  don't  hang  together  we 
may  all  hang  separately! 
(Laughter.     Cheers) 

Therefore,  choose  for  your  agent  a  man  who  is  not 
afraid  of  Kings,  a  strong  man,  a  man  so  skilled  in  the 
arts  of  diplomacy  that  he  can  pit  his  wit  against  the 
courts  of  Europe.  You  know  my  wishes.  You  know 
whom  I  have  in  mind.  I  need  not  name  him  to  you. 
If  a  revolution  is  coming  and  you  would  see  wrong 
righted,  choose  Galloway!  If  you  would  serve  the 
American  cause,  choose  Galloway !  If  you  are  patriots, 
choose  Galloway,  and  save  your  country ! 

(Wild  cheers.  Then  cries  of  "Galloway"  and 
"Franklin"  growing  fainter  as  music  starts  up 
and  crowd  moves  away) 

DEBORAH 
They  will  choose  Galloway.    I'm  sure  of  it. 


FRANKLIN  131 

FRANKLIN 

There's  a  gleam  of  hope.    But  in  politics  you  can't 
be  sure  of  anything. 

(Bretelle  enters,  cat-footed,  from  right) 
Richard,  you  are  the  one  to  lift  our  hopes,  or  dash 
them. 

RICHARD 
(Going) 

I'll  be  back  the  moment  I  hear,  sir. 
(Exit  Richard.    Franklin  sees  Bretelle) 

BRETELLE 

I  came  to  see  if  there  was  anything  you  wished  me 
to  do,  sir.    Any  help  I  could  give. 

FRANKLIN 

There's  nothing  to  do  but  wait,  and  keep  your  eyes 
open.     A  spy  is  watching  me. 

BRETELLE 
(Shaken) 
What? 

FRANKLIN 

(Sorting  papers  on  desk) 

I  say  a  spy  is  watching  me.     He  has  attended  our 
patriot  meetings,  and  given  away  our  plans. 

BRETELLE 

(Moistening  his  lips) 
Do  you  know — who  he  is? 


132  FRANKLIN 

FRANKLIN 
(Innocently) 

If  you're  as  good  at  catching  spies  as  you  are  at 
catching  information,  I  may  soon  find  him.  Set  a  spy 
to  catch  a  spy,  eh,  Bretelle? 

BRETELLE 
(Paralyzed) 
What  do  you  mean? 
(Speaks  voicelessly) 

FRANKLIN 

(Unconscious  of  anything  amiss) 
You  have  already  spied  for  us.    Go  one  step  further 
and  find  the  man.    A  sly,  a  cautious  one. 

BRETELLE 

(Sees  Franklin  does  not  suspect  him;  begins  to 
breathe  more  freely.    Has  even  a  touch  of  his 
old,  sardonic  humor) 
I  am  afraid  you  overestimate  me. 

FRANKLIN 
(Heartily) 
Not  a  bit  of  it!     I  need  your  help. 

BRETELLE 
(Very  earnestly) 

And  I  will  give  it.  You  must  be  patient.  He  must 
be  a  very  clever  spy  if  he  can  get  ahead  of  you.  It  will 
take  time 


FRANKLIN  133 

FRANKLIN 

It  may  take  time,  but  in  the  end  I'll  get  him.  You 
must  be  my  shadow,  Bretelle.  Go  with  me  every 
where.  Watch  all  those  who  watch  me. 

BRETELLE 

(Grasping  Franklin's  hand) 

I  promise  it.     I  will  come  back  after  the  meeting. 
Au  revoir,  Madame,  Monsieur. 
(Exit  Bretelle  left) 

FRANKLIN 
(To  Deborah) 
Now,  while  we  wait — your  present. 

(Takes  something  from  center  table  wrapped  in 

tissue  paper) 

Can  you  guess  what  it  is? 
( Teasingly  ) 

DEBORAH 
Don't  keep  me  waiting. 

FRANKLIN 
Well  then. 

(Gives  her  the  present) 

An  electric  battery,  the  smallest  and  the  best  I've 
ever  made.  Perfect  in  every  detail. 

DEBORAH 

(  Trying  hard  to  act  pleased) 
Why — why — thank  you,  Ben,  dear,  it's — it's  lovely! 


134  FRANKLIN 

FRANKLIN 
(Watching  her) 
I'm  glad  you  like  it. 

DEBORAH 
I'm  charmed  with  it. 

FRANKLIN 

Deceitful  Deborah!  You  thought  you  could  fool 
your  husband.  You're  disappointed,  and  you're  trying 
to  hide  it.  Well,  all  good  wives  who  try  to  hoodwink 
their  husbands  shall  be  rewarded. 

(Takes  something  from  behind  his  back) 
There's  your  present! 

(Holds   up   string   of   milky,   perfectly    matched 
pearls) 

DEBORAH 
Pearls! 

FRANKLIN 
For  my  pearl  of  great  price! 

DEBORAH 
(Gaily) 
And  I've  a  present  for  you! 

FRANKLIN 
But  it's  not  my  birthday. 


FRANKLIN  135 

DEBORAH 

All  the  same,  you  are  to  have  it.    A  political  locket. 
(Gives  him  a  black  enameled  locket  the  size  of 
an  average   envelope.     It   hangs   on   a   black 
velvet  ribbon) 
You  can  keep  important  letters  in  it. 

(As  she  gives  it  to  him  he  kisses  and  holds  her 
hand,  looking  at  her) 

FRANKLIN 

I'll  keep  the  King's  letter  in  it. 
(Puts  it  in  locket) 

DEBORAH 
(Very  tenderly) 

Whenever  you  touch  this  locket  you  are  to  remem 
ber  some  one  who  loved  you  as  her  own  soul,  whose 
greatest  happiness  was  to  help  you. 

(More  lightly) 

Ah,  I've  had  the  happiest  birthday!  Your  speech! 
And  to  hear  them  cheer  you!  How  they  love  you, 
Ben. 

FRANKLIN 

That's  what  Mrs.  Galloway  is  saying  to  her  hus 
band.  It's  a  great  thing  to  be  a  statesman. 

(Something  in  his  tone  makes  her  look  at  him 
keenly ) 

DEBORAH 
Ben! 


136  FRANKLIN 

FRANKLIN 
Yes,  dear? 

DEBORAH 
You  wanted  it!    You  wanted  to  be  the  agent! 

FRANKLIN 

Galloway's  a  good  man.  I  hope  from  my  heart 
they'll  send  him. 

DEBORAH 

Ben!  You're  evading  me.  Look  in  my  eyes.  You 
wanted  it.  You  worked  for  Galloway  and  yet  you 
wanted  it. 

FRANKLIN 
(Half  whimsical,  half  serious) 

Where  shall  a  man  confess  himself  unless  to  his 
wife? 

(Then,  deeply) 

Yes,  Deborah,  I  wanted  it.  It's  always  been  my 
dream  to  be  a  statesman,  and  that  agency  will  make 
for  statesmanship.  God!  When  I  think  of  the  op 
portunity!  To  strike  a  blow  for  America!  To  rouse 
King  George!  To  make  the  House  of  Lords  wake 
up  and  listen!  To  win!  Or  perhaps  to  fail!  And 
then  to  cross  the  channel,  and  try  for  France.  To 
fight  the  fight  with  no  one  aiding  you.  To  have  noth 
ing  but  your  own  wit  to  see  you  through.  Amongst 
the  constellations  of  the  world  powers  to  see  America 


FRANKLIN  13? 

blaze  a  new,  splendid  star!     To  know  you  put  her 
there! 

DEBORAH 

Oh,  Ben,  if  it  could  have  come  to  you!  It  would 
have  meant  that  we  must  part,  and  yet  I'd  gladly 
have  sent  you  just  for  the  sake  of  seeing  you  come 
back  with  all  your  townsfolk  cheering  you! 

FRANKLIN 

I've  had  so  much  to  make  me  happy  that  I'd  be  nig 
gardly  to  ask  for  more.  Who  ever  journeys  straight 
to  the  goal  ?  Who  ever  reaches  all  he  dreams  or  hopes 
for?  My  dear,  if  it's  any  consolation  to  you,  the 
agent's  mission  will  be  both  difficult  and  dangerous. 
(Richard  enters  left,  in  a  high  state  of  excitement) 

RICHARD 
Dr.  Franklin! 
(He  pauses) 

FRANKLIN 
Don't  be  afraid  to  tell  me! 

RICHARD 
Your  resolutions  were  checkmated.    But  in  spite  of 

that 

(Again  Richard  pauses  as  if  uncertain  of  his  voice) 

FRANKLIN 
Richard!     Quick!     Tell  me! 


138  FRANKLIN 

(Andrews,  later  Bralthwaite,  Knox  and  Murray 
enter) 

ANDREWS 
They  chose  as  you  told  them  to! 

FRANKLIN 
(Amazed,  delighted) 
What! 

ANDREWS 

They  chose  a  man  who  is  not  afraid  of  Kings,  a 
strong  man,  a  man  who  can  pit  his  wit  against  the 
courts  of  Europe 

FRANKLIN 
Andrews,  for  God's  sake,  tell  me! 

ANDREWS 
They've  chosen  you,  sir! 

FRANKLIN 
They've  chosen  me! 

BRAITHWAITE 

Who  else  should  loyal  Americans  choose?  Gallo 
way  declared  for  you  as  well  as  the  others.  They  sud 
denly  saw  that  no  one  could  represent  them  as  you 
could.  And  the  tepid  members  who  didn't  know  which 
way  to  choose  were  swept  off  their  feet.  Except  the 
King's  party,  every  one  was  for  you. 


FRANKLIN  139 

FRANKLIN 
But  this  is  unparliamentary,  unprecedented! 

ANDREWS 
The  times  are  unprecedented. 

(Bretelle  has  entered,  right.    Also  Letitia) 

FRANKLIN 

111  need  two  men  to  help  me  on  my  mission.    Rich 
ard,  you  shall  be  one. 

(To  Bretelle) 
And  you,  old  friend,  the  other. 

MURRAY 
Your  townsfolk  are  calling  you. 

(Cheers  and  the  red  glow  of  torchlight  outside 
window) 

FRANKLIN 
Tell  them  I  am  coming. 

LETITIA 
( To  Richard) 
I've  come  to  say  forgive  me,  and  God  speed  you! 

RICHARD 
You'll  wait  till  I  come  back? 

(She  nods,  he  draws  her  toward  him) 

LETITIA 
If  you're  too  long,  I  shall  come  after  you. 


140  FRANKLIN 

DEBORAH 
(To  Franklin) 

Oh,  Ben,  I  have  great  faith  in  you.  But  now  that 
it's  truly  come,  now  that  it's  a  reality  and  not  a  dream 
— how  will  they  listen  ?  It  may  take  years. 

FRANKLIN 
I'll  make  them  listen  if  it  takes  a  century. 

DEBORAH 

It  will  be  difficult  and  dangerous.  You  just  said  so. 
And  what  have  you  to  fight  with  ? 

FRANKLIN 
I  won't  fight.    I'll  work. 

DEBORAH 
And  if  that  fails  you? 

FRANKLIN 
I'll  use  the  oldest  weapon  known  to  statesmen. 

DEBORAH 
And  that  is 

FRANKLIN 
Strategy. 

(He  is  leading  her  to  the  window  in  background 
where  the  cheers  are  redoubling,  as  falls  the 

CURTAIN 


ACT  IV 

Scene  I:  Franklins  hotel  at  Passy,  1778. 

A  room  in  pale  gray,  with  white  woodwork,  evi 
dently  on  the  second  -floor.  French  windows  in  back 
ground  opening  on  a  snowy,  park-like  landscape. 

On  each  side  of  the  window,  narrow  curtains  of  rose 
satin.  There  are  doors  at  right  and  left,  near  back 
ground,  opening  into  other  rooms  of  the  house.  Bell 
ropes  at  right  and  left. 

A  hearth  at  left,  with  a  Franklin  stove  set  near  it, 
the  pipe  running  into  the  tiled  hearth.  The  grate  of 
the  stove  glows  rosily. 

In  the  center  of  the  room  a  table-desk  with  spindle 
legs.  On  the  table,  books,  papers,  and  pens  hide  ex 
periments  with  wiring.  At  right,  down  stage,  Rich 
ard's  desk,  and  at  left  a  similar  desk  for  Bretelle. 

At  right,  behind  Richard's  desk  a  table  with  some 
of  Dr.  Franklin  s  electrical  experiments,  innocent  look 
ing  to  the  casual  observer.  A  candle,  pens,  inkstand, 
etc.,  etc.  Chairs  and  a  settee  upholstered  in  rose  satin 
cushions. 

Musical  glasses  in  front  of  the  window  in  back 
ground  complete  the  furnishings  of  the  room. 

The  time  is  late  afternoon. 

The  notes  of  "Yankee  Doodle"  tinklingly  played  are 
heard.  Dr.  Franklin,  with  white  hair  and  dark  brows 
141 


142  FRANKLIN 

from  under  which  his  dark  eyes  look  brilliantly  is 
seated,  at  musical  glasses — playing.  Listening  to  him 
are  savants  in  robes  of  the  Universities  of  Paris,  and 
ladies  of  the  court,  magnificently  dressed,  their  fur 
cloaks  over  their  arms.  Bretelle,  old  and  slim,  and 
moving  with  a  quick  grace,  is  listening.  Near  him  is 
the  Countess  de  Sarnac,  a  dark  slender  woman  with  a 
bright,  hard  beauty. 

FRANKLIN 
(Ceasing  to  play) 

That's  the  tune  that  helped  us  win  the  battles  of 
Lexington  and  Bunker  Hill,  and  led  to  the  Declara 
tion  of  Independence.  Now  if  I  could  only  compose 

one  that  would  help  us  sign  the  French  Treaty 

(Laughter) 

MME.  DE  SARNAC 

Success  is  a  tune  that  accomplishes  great  things,  Dr. 
Franklin. 

FRANKLIN 
(Urbane) 

I  am  sure  of  that,  Countess.  Early  in  life  my  wife 
.and  I  discovered  it. 


MME.  DE  SARNAC 

It  is  so  sad  to  think  of  those  poor  soldiers  starving 
and  freezing  at  Valley  Forge. 


FRANKLIN  143 

FRANKLIN 

The  signing  of  the  Treaty  would  be  bread  and  meat 
to  them. 

(Richard  appears  at  doorway,  left) 

RICHARD 

Dr.  Franklin,  Monsieur  Fragonard  bids  me  say 
your  portrait  is  ready  for  the  inspection  of  all  those 
who  wish  to  see  it. 

(Murmurs  of  Interest) 

FRANKLIN 
Ladies,  Messieurs  the  savants,  if  you  would  care 

MME.  DE  SARNAC 
But  we  would  be  delighted. 

RICHARD 
(As  he  passes  out  with  a  lady  on  his  arm) 

It's  a  wonderful  likeness 

(All  go  out  save  the  Countess  de  Sarnac  and 
Bretelle.  The  Countess,  with  a  look  to  see 
that  she  is  not  observed,  comes  quickly  down 
to  Bretelle) 

MME.  DE  SARNAC 
We  must  make  a  move.    To-day 


BRETELLE 
But 


144  FRANKLIN 

MME.  DE  SARNAC 

To-day.  At  court  there  is  a  rumor  that  the  King 
and  de  Vergennes  begin  to  look  with  favor  on  the 
American  Treaty.  Vergennes  is  here  in  Passy  this 
moment.  A  little  good  news  from  America, 

(Gestures) 

and  the  thing  is  done.  Lord  Stormount  is  becoming 
anxious.  He  urges  haste.  I  tell  you  we  must  strike 
to-day. 

BRETELLE 
But,  Countess 

MME.  DE  SARNAC 

Unless  we  do,  we  are  lost.  The  Baron  de  Weissen- 
stein  will  no  longer  employ  us.  Are  there  no  papers 
you  can  take,  Bretelle,  you  who  live  with  Franklin  and 
see  him  daily? 

BRETELLE 

But  he  is  so  careful!  Any  important  papers  he  has 
I  think  he  sleeps  with,  or  wears  in  a  political  locket 
about  his  neck.  If  the  American  packet  would  arrive 
with  the  despatches 

MME.  DE  SARNAC 
(Eagerly) 
Yes! 

BRETELLE 
But  it  only  comes  every  six  weeks. 


FRANKLIN  145 

MME.  DE  SARNAC 
(With  despair) 
Every  six  weeks! 

BRETELLE 

But  the  six  weeks  are  up.  Some  time  this  week 
the  packet  should  arrive. 

MME.  DE  SARNAC 

This  week!  I  tell  you  we  must  strike  before  good 
news  arrives.  To-day,  if  possible.  For  years  the  Eng 
lish  put  this  Franklin  off  with  promises,  and  now  for 
months  our  Prime  Minister  has  had  reason  to  hesitate. 
But  men  who  won't  give  up  always  win  in  the  end. 

BRETELLE 
He  won't  win!     He  can't  win! 

MME.  DE  SARNAC 
He  will  win,  unless  we  strike  to-day.     I  tell  you 

he 

(She  is  warned  by  <a  look  from  Bretelle  and  stops. 
Glances  toward  left,  and  sees  Richard  enter 
ing) 

RICHARD 

(Bowing ,  coming  down) 
Countess ! 

MME.  DE  SARNAC 
I  was  just  looking  at  this  first  edition  of  Poor  Rich- 


146  FRANKLIN 

ard's  Almanac.  All  good  advice  and  not  a  hint  of  sen 
timent.  You  are  so  droll,  you  Americans!  You  never 
speak  of  the  tender  passion,  and  yet  I  hear  youVe 
made  a  love  match,  and  are  counting  the  days  till  you 
return  to  America. 

RICHARD 
And  is  that  strange? 

MME.  DE  SARNAC 
To  speak  of  one's  lover — no.     But  to  speak  of  one's 

wife — as  Dr.  Franklin  does 

{Laughs,  shrugs,  raises  her  eyes  to  heaven.     Then, 
quickly,  to  Bretelle,  with  the  utmost  demure- 
ness) 
Thank  you,  Monsieur,  for  showing  me  this  book. 

(Bows  to  Bretelle  and  Richard) 
Now  that  the  others  have  had  their  turn,  I'll  see  the 
portrait. 

(Exits  with  languid  grace,  left) 

RICHARD 

Too  bad  to  interrupt  you,  Bretelle,  when  you  were 
trying  to  gain  information. 

(Indicates  door  left) 
She  said — nothing? 

BRETELLE 

Nothing.  I  tried  to  sound  her  on  the  subject  of 
the  King  and  the  Treaty,  and  she  said  nothing.  I 
doubt,  Monsieur,  if  she's  a  spy  as  Dr.  Franklin  thinks. 


FRANKLIN  147 

RICHARD 

Of  course  she's  a  spy.     That  room 

(Indicates  left) 

is  full  of  spies.  People  who  come  to  hear  what  they 
can  hear  and  see  what  they  can  see.  And  presently 
the  Duchess  de  Cleary  will  be  coming,  so  that  she 
can  report  all  she  hears  to  the  Prime  Minister.  He  is 
in  Passy  to-day,  I  understand. 

BRETELLE 
Hush! 

(Looks  warningly  at  Richard  as  Mme.  de  Sarnac 
re enters) 

MME.  DE  SARNAC 
A  wonderful  portrait!     Charming! 

(Bretelle  goes  slowly  up,  and  exits  left) 
This  room  is  filled  with  the  most  fascinating  things. 

(Comes  to  table) 
What  is  this,  Monsieur? 

RICHARD 
One  of  Dr.  Franklin's  electrical  experiments. 

MME.  DE  SARNAC 
(Insinuatingly) 
If  I  could  only  see  it 

RICHARD 
No  one  is  ever  allowed  to  see  it.     Not  even  myself. 


148  FRANKLIN 

(From  left  people  come  back  into  room  with  mur 
murs  of  "Fragonard  at  his  best/'  "Such 
charm!"  "Such  truth!"  etc.,  etc.  As  they  are 
entering  there  also  enters  from  right,  the 
Duchess  de  Chary,  a  very  pretty  woman.  She 
comes  face  to  face  with  Franklin) 

FRANKLIN 
Duchess,  this  is  very  good  of  you. 

MME.  DE  CLEARY 

Oh,  those  stairs!    I  am  so  out  of  breath!    And  yet 
I  wanted  to  be  the  one  to  tell  you 

FRANKLIN 
Tell  me? 

MME.  DE  CLEARY 
The  American  packet  has  arrived. 

FRANKLIN 
The  American  packet! 

(At  these  words  every  one  in  the  room  turns. 
There  is  a  sense  of  expectation  and  subdued 
excitement) 

MME.  DE  CLEARY 

And  the  American  messenger  is  coming  with  your 
dispatches. 


FRANKLIN  149 

FRANKLIN 
But  are  you  sure? 

MME.  DE  CLEARY 

I'm  certain.  He  asked  my  coachman  the  way  to 
this  hotel  and  understood  with  difficulty.  Oh,  I  do 
hope  it  is  good  news. 

MME.  DE  SARNAC 
We  shall  be  so  anxious  to  hear  it. 

RICHARD 

(At  window,  back) 
Dr.  Franklin,  it  is  the  messenger. 

MME.  DE  CLEARY 

I  have  never  been  more  excited,  more  anxious !  This 
is  as  tantalizing  as  any  moment  at  the  opera! 

MME.  DE  SARNAC 

Yes.  And  to  think  whatever  the  news  is,  we  shall 
hear  it  first! 

(All  keep  their  eyes  on  Franklin  throughout  scene. 
Enter  Part  on,  left) 

PARTON 
Mr.  Bradley  with  the  American  dispatches. 

(Enter  Bradley,  in  a  dress  suggestive  of  the  fron 
tier.  He  looks  blue-white  and  ill.  Black  cir 
cles  under  his  eyes.  Even  his  lips  are  white) 


150  FRANKLIN 

FRANKLIN 
Welcome,  Mr.  Bradley.    How  was  your  voyage? 

BRADLEY 
Very  rough  and  cold,  sir. 

(Holds  edge  of  desk,  swaying  a  little) 
The — the  important  letter  is  the  one  in  blue  and  red 
— blue  and  red 

FRANKLIN 

(With  instant  concern) 

Why,  Mr.  Bradley,  you  look  ill!    You  need  warmth 
and  food. 

(To  Par  ton) 

Parton,   see   that   Mr.    Bradley   has   everything   he 
needs. 

(To  Bradley) 
I  will  be  with  you  soon,  sir. 

BRADLEY 
I — thank  you. 

(Exeunt  Bradley  and  Parton.  Franklin  opens 
bag,  takes  out  American  packet  bound  in  blue 
and  red.  Opens  it.  Reads  a  few  lines.  His 
face  lights  with  surprise  and  rapture.  He 
makes  a  gesture  of  delight) 

FRANKLIN 

(With  a  cry  of  happiness) 
Richard! 


FRANKLIN  151 

(Quickly  grasps  Richard's  hand) 
Ah,  my  dear  boy!     My  dear  boy! 

(He  appears  for  a  moment  quite  overcome  with 
emotion) 

MME.  DE  SARNAC 
Then  it's  good  news? 

FRANKLIN 

(Still  holding  Richard  by  the  arm) 
Ladies,  you  must  forgive  an  old  man's  emotion! 

MME.  DE  CLEARY 
(Quickly) 
Has  there  been  a  battle? 

FRANKLIN 

(Rapidly  and  with  joyful  emotion) 
Ah,  no,  Madame.    Had  there  been  a  battle  the  Brit 
ish  Ambassador,  Lord  Stormount,  would  have  heard 
of  it  as  soon  as  I. 

(He  speaks  with  a  smile) 

The  greatest  triumphs  are  not  always  won  through 
battles. 

(His  face  lights  victoriously) 
There  are  the  triumphs  of  statecraft! 

MMES.  DE  SARNAC  AND  DE  CLEARY 
Statecraft ! 


152  FRANKLIN 

FRANKLIN 

I  wish  I  might  share  my  news  with  you.     But  for 
the  present  it  must  remain  a  secret  of  state. 

MME.  DE  SARNAC 
But  we  shall  know  it  soon? 

FRANKLIN 
(Joyously) 
Yes.     Soon. 

(To  Richard ',  gaily) 

Ah,   Richard,   if  we  could  only  look  ahead  when 
things  seem  darkest! 

MME.  DE  SARNAC 
(Aside  to  Bretelle) 

News  which   can   make   him   so   happy — so   trium 
phant 

MME.  DE  CLEARY 
(Purringly) 

You  have  worked  so  many  years  for  your  country, 
and  now  you  feel  your  faith  in  yourself  is  justified. 

FRANKLIN 
Duchess,  my  faith  is  always  in  a  Higher  Power. 

MME.  DE  SARNAC 
He  must  mean  General  Washington! 


FRANKLIN  153 

FRANKLIN 
Fortune  brings  in  the  ship,  as  the  Dutch  say. 

A  LADY 

Perhaps  it  means  the  Dutch  will  make  a  loan  if  we 
do  not. 

(Silent  sensation) 

A  SAVANT 

We  must  let  Dr.  Franklin  have  time  to  read  his 
letters.     Our  presence  here  delays  him. 
(Movement  of  departure) 

MME.  DE  CLEARY 
Fm  sure  there's  much  work  to  be  done. 

MME.  DE  SARNAC 
(With  a  look  at  Bretelle) 
Yes,  work  for  everybody. 

FRANKLIN 
But  my  dear  Messieurs — ladies 

MME.  DE  CLEARY 
I  do  assure  you  we  only  intended  to  stay  an  instant. 

A  SAVANT 
That's  true,  Monsieur. 

FRANKLIN 
But  let  me 


154  FRANKLIN 

MME.  DE  CLEARY 

I  have  forbidden  that  you  see  us  to  our  coaches.     I 
still  forbid  it. 

(Bows,  curtseys,  general  leave  taking) 

FRANKLIN 
Then  let  Mr.  Austin 

MME.  DE  CLEARY 
I  will  not  hear  of  it. 
(Exit  Mme.  de  Cleary) 

FRANKLIN 
But  surely 

MME.  DE  SARNAC 
Bretelle  may  take  my  wraps,  if  he  wishes 

FRANKLIN 
Bretelle! 

(Bretelle  takes  Countess'  wraps) 

MME.  DE  SARNAC 
I  leave  you  with  my  sincerest  felicitations. 

(Exeunt  Mme.  de  Sarnac  and  Bretelle.  She  has 
left  her  muff  behind  her  on  settee,  right,  and 
has  looked  meaningly  at  Bretelle.  But  in  the 
general  leave  taking  this  has  not  been  noticed. 
The  last  of  the  guests  have  bowed  and  gone. 
Dr.  Franklin  stands  at  table,  center) 


FRANKLIN  155 

FRANKLIN 
Are  they  quite  gone? 

RICHARD 

(At  window} 
Almost. 

(Turns  to  Franklin) 
Now  for  the  good  news. 

FRANKLIN 
My  dear  friend,  it  isn't  good  news.     It's  bad  news. 

RICHARD 
(Stunned) 
What !     But  you  just  said 

FRANKLIN 

(Rapidly,  yet  with  emotion) 

At  this  moment,  when  the  Treaty  is  hanging  in  the 
balance,  when  one  word  might  mean  life  or  death,  do 
you  think  I'll  let  such  disastrous  news  as  this  be  known. 
It's  the  secret  report  of  the  American  Committee  of 
Finance.  Only  General  Washington  and  the  Com 
mittee  know  its  contents.  They  have  found  our  re 
sources  are  nearer  exhaustion — our  credit  lower  than 
any  of  us  have  dreamed. 

RICHARD 
Would  this  affect  the  Treaty? 


156  FRANKLIN 

FRANKLIN 

Yes.  If  the  French  knew  how  we  stood  at  present 
it  would  frighten  them.  France  has  been  nobly  gener 
ous  to  us,  yet  consider  her  position: — a  German  king 
on  the  throne  of  England,  a  host  of  aggressive  German 
states  on  her  very  borders.  Even  if  she  desires  to  help 
us  she  must  move  carefully.  And  we — good  God,  how 
careful  we  must  be  lest  we  lose  France's  influence 

RICHARD 
(Bewildered) 
Yet  strategy 

FRANKLIN 
(With  power) 

What  is  a  general  but  a  strategist?  Richard,  all 
my  life  I've  fought  fairly.  I've  played  with  my  cards 
above  the  table.  But  now,  with  spies  on  every  side 
of  me,  now,  for  my  country's  sake,  I  fight  fire  with 
fire.  Could  you  not  see  the  Duchess  watch  me  like  a 
cat?  She  fairly  raced  here  to  glean  the  news,  and 
now  she's  racing  back. 

RICHARD 
Back? 

FRANKLIN 

To  the  Prime  Minister,  Vergennes.  Do  you  forget 
that  he  is  here  in  Passy,  within  a  stone's  throw  ?  And 
then,  that  woman's  blunder  about  Holland!  Hah! 


FRANKLIN  157 

If  Vergennes  thinks  Holland  is  in  the  air,  he'll  want 
to  sign  the  Treaty.  I  tell  you,  Richard,  with  that 
Treaty  signed,  America  is  saved.  Without  it,  she  is 
damned. 

PARTON 
(Entering) 

The  Abbe  Morrellet.  His  Reverence  bids  me  say 
that  his  foot  still  troubles  him.  He  cannot  climb  the 
stairs.  His  coach  waits  at  the  side  entrance. 

FRANKLIN 
Tell  his  Reverence  I  will  be  down  at  once. 

(Exit  Parton) 
I  must  not  keep  his  Reverence  waiting. 

(To  Richard) 
Begin  work  on  the  dispatches,  and  sift  the  letters. 

RICHARD 
Yes,  sir. 

(Exit  Franklin  left.  Richard  takes  letters  and 
dispatches  to  his  desk.  Sits  down.  Opens  a 
letter  and  begins  to  read.  Parton  enters  in 
agitation,  from  right) 

PARTON 
Mr.  Austin 

RICHARD 
(Absorbed) 
Yes? 


i58  FRANKLIN 

PARTON 

Mr.  Bradley,  our  American  Messenger,  is  quite  ill. 
I  do  not  know  whether  I  should  interrupt  the  Doctor 
and  the  Abbe,  or  send  for  a  physician. 

RICHARD 

(Beginning  to  gather  up  papers) 
Tell  Bradley  I'll  be  down  in  a  moment.     Stay  with 
him  till  I  come.    I'll  answer  for  it. 

PARTON 
Yes,  sir. 

(Exit  Part  on,  right.  Richard  quickly  and  deftly 
picks  up  letters  and  dispatches  and  puts  them 
in  drawer  of  his  desk.  Locks  drawer.  Then 
gives  it  a  little  pull.  It  stands  firm.  Slips 
key  into  his  pocket.  Exits  hastily,  right.  The 
moment  he  is  gone  the  door  at  left  opens 
cautiously,  and  Bretelle  peers  into  the  room. 
Enters  quickly,  carrying  a  bunch  of  keys  and  a 
long  ledger.  Comes  directly  to  center  desk. 
Cautiously  and  swiftly  unlocks  drawer,  thrusts 
in  his  hand.  Finds  nothing  that  he  wants. 
Closes  and  locks  drawer.  Crosses  to  desk  at 
right.  As  he  crosses  Parton  enters  from  right 
with  a  magnificent  looking  letter  on  a  silver 
salver.  Bretelle  looks  round  innocently) 

PARTON 
For  Dr.  Franklin. 


FRANKLIN  159 

BRETELLE 
I  will  tell  him. 

(Exit  Parton.  Bretelle  immediately  goes  to  desk 
right.  Opens  it  in  same  manner  as  desk  at 
center.  Extracts  red  and  blue  dispatch.  Puts 
it  in  his  ledger.  Closes  drawer  and  locks  itf 
and  is  just  turning  when  Mme.  de  Sarnac  en 
ters.  She  speaks  to  him  in  a  low  voice  as  she 
crosses  for  her  muff) 

MME.  DE  SARNAC 
You  have  succeeded? 

BRETELLE 

(With   equal  caution) 
Yes. 

MME.  DE  SARNAC 
(Same) 

You  can  escape  at  once.  There's  no  one  watching. 
(Bretelle  gives  her  his  keys  and  the  dispatches. 
As  he  is  doing  so,  and  before  she  has  quite 
concealed  the  dispatches  in  her  muff  Richard 
enters  suddenly,  left.  He  stops  short  at  sight 
of  her. 

RICHARD 
Countess ! 

MME.  DE  SARNAC 
I  was  so  stupid.     Forgot  my  muff  with  some  of  my 


160  FRANKLIN 

jewels  in  it.  I  did  not  like  to  send  my  footman  up 
for  it.  One  must  not  put  temptation  in  another's 
way. 

RICHARD 
They're  safe,  I  trust? 

(He  looks  at  her  keenly) 

MME.  DE  SARNAC 
Perfectly.     Adieu,  Monsieur. 

(She  curtseys  and  edges  toward  door,  right.    Bre- 
telle  edges  after  her) 

RICHARD 

(Bowing  to  Mme.  de  Sarnac) 

Don't  go,  Bretelle.  I  want  to  consult  you  about 
Mr.  Bradley. 

(Bretelle  pauses,  uncertain  whether  to  go  or  stay. 

Mme.  de  Sarnac  exits) 

Frangois  is  saddling  a  horse  for  me.  Mr.  Bradley 
has  been  taken  with  a  chill.  We  need  a  doctor  and 
supplies. 

(Bretelle  looks  relieved.    Franklin  enters,  left) 

FRANKLIN 
Is  Bretelle  here? 

BRETELLE 
I  was  just  going  to  Mr.  Bradley. 


FRANKLIN  161 

FRANKLIN 

Mr.  Bradley  seems  better,  but  we  can't  be  too  care 
ful.     Here's  the  list  of  what  we  need. 

(He  starts  to  give  Richard  the  list.  As  he  is 
doing  so  Richard  opens  his  desk  and  gives  a 
cry  of  alarm) 

RICHARD 
Dr.  Franklin!    The  dispatches!     They're  gone! 

FRANKLIN 

(Startled) 
Wait,  Bretelle. 

(Nervously  grasps  Bretelle 's  arm) 
What  do  you  mean? 

RICHARD 
I  locked  them  in  my  desk,  and  they  are  gone! 

FRANKLIN 
You're  certain  ? 

(He  releases  Bretelle,  who  looks  uncertain 
whether  to  go  or  to  stay  it  out) 

RICHARD 

I  locked  them  there  before  I  went  to  Mr.  Bradley. 
(He  pulls  himself  together,  but  it  is  evident  that 
he  is  struggling  with  strong  emotion) 

FRANKLIN 
But  no  one's  been  here  except  those  whom  we  trust. 


1 62  FRANKLIN 

Bretelle,  you  must  help  us  sift  this  thing  to  the  bot 
tom.     Who  has  been  in  this  room  since  I  left  it? 

RICHARD 
No  one  except  Bretelle. 

(And  as  an  after  thought) 
Oh,  and  the  Countess! 

FRANKLIN 
The  Countess! 

RICHARD 
(Excitedly) 

She  forgot  her  muff  and  came  back  for  it,  and  now 
that  I  remember  it,  she  was  putting  a  paper  in  it. 

FRANKLIN 
Well? 

RICHARD 

I — I — well,  the  truth  is,  it  was  Bretelle  who  gave 
it  to  her! 

BRETELLE 

Dr.  Franklin,  I  appeal  to  you.  I  gave  no  paper 
to  the  Countess.  Monsieur  Richard  suffers  from  an 
hallucination. 

RICHARD 
I  am  not  given  to  hallucinations. 


FRANKLIN  163 

FRANKLIN 

Bretelle,  for  years  some  one  has  been  selling  me  to 
King  George  and  his  followers,  and  I  have  sworn 
that  some  day  I  would  get  him.  If  I  thought  that 
it  was  you — you  whom  I  have  always  trusted,  whom 
I  have  cherished  as  a  friend 

BRETELLE 
I  swear  it  is  not  I! 

FRANKLIN 

You  and  the  Countess,  often  together,  we  thought 
that  you  were  gaining  information  from  her,  and  in 
stead 

BRETELLE 

If  this  thing  were  true,  I  could  have  escaped  while 
you  and  Richard  were  talking. 

FRANKLIN 

A  step  toward  that  door  in  such  a  crisis  would  have 
proved  your  guilt,  and  you  are  clever  enough  to  know 
it. 

BRETELLE 
Do  you  condemn  me  without  proof  ? 

FRANKLIN 

I  have  the  proof  of  a  hundred  memories  of  things 
that  you  have  done  that  now  seem  significant. 


1 64  FRANKLIN 

BRETELLE 
You  have  no  certainty  of  what  you  say,  Monsieur. 


FRANKLIN 
That  is  true.     But  I  will  have  certainty. 

(To  Richard) 

Richard,  send  Frangois  to  the  village,  and  mean 
while  leave  word  that  I  am  not  to  be  disturbed  for 
the  next  half  hour  unless  I  ring.  You  may  say  that 
important  news  precludes  my  seeing  visitors.  Will 
you  remain  downstairs,  and  see  that  no  one  leaves  this 
house,  or  enters  it? 

RICHARD 
(A  bit  awed) 
Yes,  Doctor. 

(Exit  Richard.     Franklin  turns  to  Bretelle) 

FRANKLIN 

Now,  Bretelle,  I  ask  you.  What  were  the  papers 
that  Richard  observed  you  giving  to  the  Countess? 

BRETELLE 
I  gave  no  papers  to  the  Countess. 

FRANKLIN 

Bretelle,  for  many  years  you  have  been  paid  to  spy 
on  me.  I'll  give  you  twice  as  much  as  you've  been 
offered  to  get  the  information  I  desire. 


FRANKLIN  165 

BRETELLE 
I've  told  you  that  I  have  no  information. 

FRANKLIN 

Be  warned,  Bretelle.  Now  that  my  eyes  are  open 
I  read  you  like  a  book.  You  thought  you  could  sell 
me.  You  thought  it  was  only  on  human  power  I  was 
relying.  You  were  wrong.  You  may  tamper  with 
me,  Bretelle,  but  be  careful  how  you  tamper  with  the 
Prince  of  the  Powers  of  the  Air. 

BRETELLE 
(Fingers  the  charm  hung  about  his  neck  rapidly. 

Twilight  falls) 
Monsieur  means? 

FRANKLIN 

I  only  say,  be  careful.  I  give  you  one  more  chance. 
Are  you  willing  to  swear  and  to  sign  a  paper  to  the 
effect  that  you  have  not  touched  the  dispatches? 

BRETELLE 

(Relieved,  ceasing  to  finger  his  charm) 
Yes,  Monsieur.    Quite  willing.     And  when  I  have 
done  so,  Monsieur  will  let  me  go? 

FRANKLIN 
What  reason  could  I  have  for  keeping  you? 

BRETELLE 
Then  I  am  ready. 


1 66  FRANKLIN 

(He  stands  at  Franklin's  desk.  Franklin,  seated 
at  his  desk,  pushes  forward  a  book.  Through 
all  that  follows  he  manipulates  the  wires  on 
his  desk  very  quietly  f  his  eyes  fixed  on  Bre- 
telle.  Bretelle  starts  to  put  his  hand  on  the 
book) 
I  swear  that  I  had  nothing 

( The   book   bursts   into    blue   flame   beneath    his 

hand.     He  finishes  with  a  gasp) 
Nothing  whatever  to  do  with  the  dispatches. 

FRANKLIN 

Now  you  may  sign.     Ink  and  pens  are  on  the  table 
yonder. 

BRETELLE 

(Beginning  to  be  afraid,  and  fingering  his  charm) 
It  is  too  dark. 

FRANKLIN 

(Grimly) 
You  will  be  lighted. 

(Just  as  Bretelle  sits  down  a  large  candle  on  the 
table  appears  to  light  all  of  itself.  Bretelle 
rises  nervously  and  then  sits  down  again. 
Starts  to  dip  his  pen  in  the  ink  well.  Blue 
sparks  fly  upward.  He  drops  the  pen. 

BRETELLE 
Monsieur ! 


FRANKLIN  167 

(As  he  turns  toward  Franklin  a  white  light  flares 
out  on  the  table  and  vanishes.     Bretelle  gives 
a  cry,  clutches  the  table  edge) 
It's  sorcery! 

FRANKLIN 

(With  mounting  anger) 

Bretelle,  I  warned  you  not  to  tamper  with  me. 
Why,  as  you  sit  there  I  can  see  your  past  rise  around 
you.  I  know  you  now  for  what  you  are.  You  ate 
my  bread,  you  shared  my  roof,  you  took  all  the  ad 
vancement  I  could  give  you,  and  you  betrayed  me. 

BRETELLE 
Never ! 

FRANKLIN 

Don't  lie  to  me.  Your  very  soul  is  clear  to  me. 
Incapable  of  honest  effort  yourself,  you  hated  all  those 
who  succeeded  by  it.  You  hated  me,  yet  you  pre 
tended  friendship.  You  would  have  defeated  my  ef 
forts  here  in  France,  you  did  defeat  them  in  London. 
(Suddenly,  with  his  hand  on  his  locket) 

You  attended  our  patriot  meetings  in  America — 
My  God!  I  see  it  now!  It  was  you  who  would 
have  blasted  my  life,  my  happiness. 

BRETELLE 
(Cowering) 
No! 


1 68  FRANKLIN 

FRANKLIN 
(Sweeping  on) 

You  are  not  even  a  paid  spy  working  for  your 
country's  good.  You  are  a  human  jackal,  without 
feeling,  without  mercy.  Before  you  went  to  America, 
what  was  the  deed  that  caused  you  to  leave  France  ? 

(Bretelle  starts) 
I  see  it  written  in  your  face! 

(Watches  him  keenly  to  see  what  this  guess  will 
do) 

BRETELLE 

No!  No!  No!  I  swear  I  had  no  hand  in  that!  I 
swear  it! 

(Grabs  pen,  speaks  pantingly) 

I'll  sign,  I'll  sign 

(The  room  has  been  gradually  darkening.     Bre 
telle  starts  to   dip   pen   into   ink  well.     Red 
sparks  fly  up  from  it.     He  drops  the  pen,  his 
face  livid) 

FRANKLIN 

If  that  pen  disturbs  you,  another  is  in  the  box  be 
side  you. 

(Bretelle  hastily  tries  to  open  the  box  which  con 
tains  the  battery,  fumbling  about   it   hastily, 
gropingly  ) 
Lift  the  handles. 

(Bretelle  lifts  what  he  thinks  are  the  handles, 
pulls  at  them,  and  Franklin  switches  on  the 
current) 


FRANKLIN  169 

BRETELLE 
(Writhing) 

Oh,  holy  Saints!  I'm  being  murdered.  It's  witch 
craft.  Ten  thousand  devils  prick  me.  I  will  confess. 
I  gave  the  papers  to  the  Countess! 

FRANKLIN 
What  will  she  do  with  them? 

BRETELLE 
She'll  give  them  to  Lord  Stormount. 

FRANKLIN 
But  he's  in  Holland. 

BRETELLE 
He  will  come  back  and  face  you-— publicly. 

(Strong  white  light  shines  on  the  table  and  van 
ishes) 
That's  all!    That's  all,  I  swear! 

(Franklin  switches  off  current,  and  Bretelle  drops 

in  a  limp  heap  in  his  chair) 
Holy  St.  Mercury! 

FRANKLIN 

(Tersely) 
Get  up. 

BRETELLE 
What  are  you  going  to  do  with  me? 


i  yo  FRANKLIN 

FRANKLIN 

I'm  going  to  put  you  where  your  fangs  won't  poison 
people.  Which  will  you  choose,  the  prefect  of  police, 
or  a  sea  voyage? 

BRETELLE 

(In  a  whisper,  his  eyes  wide  with  terror) 
I'll  choose — the  voyage. 

(Enter  Parton  with  branched  candlesticks  which 
light  up  the  room.  He  places  them) 

FRANKLIN 

Parton,  Monsieur  Bretelle  is  going  on  a  sea  voyage. 
You  will  accompany  him  as  you  did  the  spy  in  London 
six  years  ago.  Here  is  a  letter  to  the  captain  of  the 
American  packet  at  Auray,  and  traveling  money. 

PARTON 

Sir,  have  you  seen  the  letter  that  came  a  short  time 
since  ? 

FRANKLIN 

(Glancing  toward  it) 
Ah,  thank  you,  Parton. 

(Parton  crosses  to  Bretelle) 

Monsieur  Bretelle  may  need  assistance.  His  nerves 
are  shaky.  Let  him  lean  on  you. 

(Franklin  pulls  bell  rope  right,  as  Parton  and 
Bretelle  exeunt.  Then  Franklin  reads  the 
letter  which  Parton  brought,  very  thought 
fully.  Richard  enters,  left) 


FRANKLIN  171 

RICHARD 

Dr.  Franklin,  have  you  discovered  the  whereabouts 
of  the  dispatches? 

FRANKLIN 

(Looking  up  from  his  letter) 
Yes. 

RICHARD 
Thank  heaven!     But  you  don't  seem  excited! 

FRANKLIN 

I  have  been  reading  an  invitation.  On  Thursday 
of  next  week  we  are  invited  to  be  the  guests  of  the 
King  and  Queen  of  France  in  order  to  sign  the  Treaty. 

RICHARD 

Then  it's  come  true  at  last !  All  that  you've  striven 
for!  It's  glorious!  Stupendous!  Think  what  you've 
done  for  your  country! 

FRANKLIN 

(Deeply) 
I  am  thinking. 

RICHARD 
Your  dream  is  realized! 

FRANKLIN 

My  dream  turns  out  a  nightmare.  Richard,  we're 
sold.  Bretelle  has  played  the  spy  and  given  the  finan- 


172  FRANKLIN 

cial  papers  to  De  Sarnac.     She'll  give  them  to  Lord 
Stormount. 

RICHARD 
But  he's  in  Holland. 


FRANKLIN 

By  traveling  at  top  speed  he  can  be  back  by  Thurs 
day. 

RICHARD 
Thursday — You  don't  mean 


FRANKLIN 

Yes.  He'll  face  us  at  Versailles,  so  our  defeat  will 
be  a  public  one.  De  Vergennes  will  refuse  to  sign. 

RICHARD 
Arrest  Bretelle! 

FRANKLIN 

And  have  the  police  question  him,  and  spread  the 
report  of  America's  finances  even  further?  I  want 
him  out  of  the  way.  I've  oriented  him. 

RICHARD 
Arrest  the  Countess.     Take  the  papers  from  her ! 

FRANKLIN 

Arrest  a  woman  of  rank  in  her  own  country,  and 
bring  the  monarchy  about  our  ears?  You  are  mad! 


FRANKLIN  173 

RICHARD 

There's  one  more  way.  Refuse  the  invitation. 
Don't  go  to  court. 

FRANKLIN 
I  must  think. 

RICHARD 

Don't  accept  it.  We'll  be  discountenanced,  humil 
iated,  the  laugh  of  Europe.  I  see  it  all.  We're 
trapped — trapped  on  all  sides.  Nothing  can  save  us 
but  a  miracle,  and  miracles  don't  happen. 

FRANKLIN 

We  must  make  one  happen.  This  is  the  time  to 
fight,  not  turn  our  backs  and  run.  Versailles  shall  be 
our  battle  ground.  Only,  in  place  of  gunpowder  we'll 
use  strategy;  diplomacy  instead  of  muskets.  We'll 
deal  Lord  Stormount  thrust  for  thrust,  and  blow  for 
blow. 

RICHARD 
But  how? 

FRANKLIN 

Wait  until  Thursday. 

CURTAIN 


ACT  IV 

Scene  II:  The  Hall  des  Ambassadeurs,  Versailles, 
France. 

A  long  narrow  hall  in  pale  gray,  flanked  at  right 
and  left  by  walls  of  the  same  neutral  color. 

At  right,  a  door  leads  into  another  room. 

All  across  the  background  hangs  an  arras  of  cloth  of 
gold  starred  with  white  fleur  de  Us.  Against  this, 
center,  a  black  lacquered  table  and  chair.  Gold 
sconces  filled  with  candles  jut  from  the  walls  at  right 
and  left. 

There  is  a  blaze  of  splendor.  People  are  promen~ 
ading,  and  music  plays  faintly  off  stage.  As  soon  as 
the  curtain  has  risen  the  music  stops. 

Amongst  those  present  are  Mons.  Girard,  the  Count 
de  Vergennes,  Mme.  de  Sarnac,  the  Duchess  de  Cleary, 
Ladies  of  the  Court,  Foreign  Diplomats,  Envoys.  A 
Cardinal  in  his  red  robes. 

MME.  DE  SARNAC 
(Tapping  Girard  with  her  fan) 
Monsieur  Girard ! 

GIRARD 

(Turning) 
Mme.  de  Sarnac,  charming  as  always. 

174 


FRANKLIN  175 

MME.  DE  SARNAC 
Tell  me,  you  who  know  everything 

GIRARD 

Oh,  no,  Madame,  only  the  half  of  everything.  And 
then  I  try  to  guess  the  other  half. 

MME.  DE  SARNAC 

Tell  me,  is  it  true  that  when  Dr.  Franklin  arrives 
this  hall  must  be  cleared? 

GIRARD 
I  fear  so. 

(They   pass,   talking.    A    Court   Lady   and   the 
Duchess  de  Chary  come  down) 

MME.  DE  CLEARY 

No  one  can  talk  of  anything  but  America's  victory, 
Dr.  Franklin,  and  the  loan.  If  there's  any  more 
crowding  we  shall  have  to  stand  on  tiptoe  and  look 
over  each  other's  shoulders.  Some  one  has  just  asked 
me  how  they  are  to  know  Dr.  Franklin,  and  if  he  will 
wear  gold  brocade  and  jewels.  And  I  told  my  ques 
tioner,  "Look  for  the  simplest  man  in  the  room.  That 
will  be  he!" 

(They  pass,  talking} 

MME.  DE  SARNAC 

(Coming  down  on  the  arm  of  a  Russian  Diplo 
mat,  wonderful  in  sables) 


176  FRANKLIN 

That's  the  Queen's  favorite  air  they're  playing.  The 
King  and  Queen  are  in  the  next  room.  Did  you 
know? 

(Two  people  come  up  to  them.  The  Diplomat 
bows,  and  begins  to  talk.  The  Duchess  de 
Clear y  comes  up  to  Mme.  de  Sarnac) 


MME.  DE  CLEARY 

Lord  Stormount,  the  British  Ambassador,  has  just 
arrived.     I  thought  he  was  in  Holland. 

MME.  DE  SARNAC 
He's  just  come  back,  post  haste. 

MME.  DE  CLEARY 

It's  strange  that  he  should  be  here  on  the  night  we 
honor  a  great  American. 

MME.  DE  SARNAC 
I  think  it  shows  great  nonchalance,  great  courage. 

MME.  DE  CLEARY 

I  think  it  shows  he  wants  nothing  to  pass  which  he 
does  not  report  to  his  government. 

(Mme.  de  Sarnac  bows  to  Mme.  de  Cleary,  and 
moves  languidly  to  left,  where  she  is  instantly 
joined  by  Lord  Stormount,  a  pompous,  red- 
faced  individual  in  scarlet  velvet) 


FRANKLIN  177 

MME.  DE  SARNAC 

(Gaily) 
I  was  afraid  you  might  be  late. 

(In  a  lower  voice) 
You  got  my  letter? 

STORMOUNT 
Yes.     I  left  at  once. 

MME.  DE  SARNAC 

Here  is  the  original  dispatch.     I've  sent  a  copy  to 
the  King  of  England. 


STORMOUNT 

Madame,    you    are    incomparable.     This   piece   of 
paper  will   keep   another  piece  of   paper   from   being 

01  rrr\f*f\ 


GlRARD 

(To  a  lady,  right) 

The  other  plenipotentiaries  have  arrived.  Mr. 
Adams  is  already  here.  But  Dr.  Franklin  is  late.  I 
hear  the  crowd  about  his  carriage  is  so  great  that  he 
can  scarcely  make  his  way.  All  along  the  road  from 
Passy  to  Versailles  people  have  stood  to  cheer  him. 

(As  she  speaks,  Letitia,  who  has  been  standing  in 
the  crowd  right,  moves  forward ',  and  comes 
face  to  face  with  Richard,  who  enters  left) 

RICHARD 

(Hardly  able  to  believe  his  eyes) 
Letitia ! 


1 78  FRANKLIN 

LETITIA 
(Very  happy) 
Richard ! 

RICHARD 
Are  you  a  dream? 

LETITIA 

No.  I'm  an  impatient  reality.  I  began  to  think 
you  were  never  coming  home  again,  and  so  I  came 
for  you. 

MME.  DE  CLEARY 

(To  a  diplomat) 

They're  going  to  clear  the  hall.  Dr.  Franklin  must 
be  coming. 

(A  lackey  enters  from  left,  carrying  a  wand,  each 
end  tipped  with  a  golden  ball.  This  he  car 
ries  before  him.  The  people  understand  the 
signal.  There  is  a  general  movement  towards 
the  door  right.  De  Vergennes,  slight  and 
distinguished,  steps  forward  from  right,  fol 
lowed  by  Mons.  Girard.  The  people  back 
of  him  stop  a  moment,  looking  eagerly  toward 
left.  Franklin  enters,  left,  dressed  in  plain 
black  velvet,  with  white  linen  ruffles.  His 
white  hair  is  worn  straight  and  without  a 
queue.  He  wears  no  ornaments  save  his 
political  locket.  Richard  stands  waiting,  left. 


FRANKLIN  179 

DE  VERGENNES 
(Bowing) 

Dr.   Franklin,   in  the  name  of  France,   I  bid  you 
welcome. 

FRANKLIN 

Count  de  Vergennes,   in  the  name  of  America,   I 
thank  you. 

(All  the  people  have  gone  out,  save  those  who  are 
to  sign  the  treaty,  and  Lord  Stormount,  who 
lingers) 

GlRARD 

Their  majesties  bid  me  say  that  they  await  you. 
(As    de    Vergennes,    Girard   and   Franklin,    fol 
lowed  by  Richard,  approach   room   at  right, 
Stormount  starts  in  front  of  them) 

STORMOUNT 

Count    de    Vergennes,    one    moment.     Before    the 
papers  of  the  French  and  American  Alliance  are  signed, 
there  is  a  matter  with  which  I,  as  British  Ambassador 
to  the  Court  of  France,  feel  it  my  duty  to  acquaint  you. 
(De  Vergennes  and  Girard  show  the  utmost  sur 
prise.     Each    looks   apprehensive.     Only    Dr. 
Franklin  preserves  a   tranquil  front,   looking 
as  if  nothing  had  happened) 

DE  VERGENNES 
My  lord,  this  is  most  unusual. 


i8o  FRANKLIN 

STORMOUNT 

I   beg  you   to   go  no   further   with   the  American 
Treaty  till  you  have  heard  me. 

GlRARD 

(Startled) 
The  American  Treaty! 

STORMOUNT 

Hear  me  or  not,  as  you  like,  but  after  the  Treaty 
is  signed,  remember  that  I  tried  to  warn  you. 

GIRARD 

My  lord,  have  you  thought  of  the  consequences  of 
this  action?     Can  you  step  between  two  powers? 

STORMOUNT 

I  can  warn  a  power  to  which  my  country  is  still 
friendly. 

DE  VERGENNES 
But  does  this  matter  concern  Dr.  Franklin? 

STORMOUNT 
Unhappily,  yes,  Monsieur. 

FRANKLIN 

"Unhappily?"     Then  by  all  means,  Count  de  Ver- 
gennes,  I  beg  you  to  hear  it. 

(They  go  to  table  background) 


FRANKLIN  181 

DE  VERGENNES 
What  is  it  you  have  to  say,  my  Lord  Stormount? 

STORMOUNT 

(Ignoring  Franklin  and  speaking  to  Vergennes) 
Monsieur,  in  dealing  with  America  you  think  you 
are  dealing  with  an  impoverished  nation  to  which  your 
country  has  lent  money.  But  do  you  know  how  deeply 
impoverished?  Has  the  report  of  the  Committee  on 
American  Finance  been  shown  you? 

DE  VERGENNES 
(Puzzled) 
I  think  not,  my  lord. 

STORMOUNT 
Pray  then,  examine  it. 
(Gives  him  dispatch) 

DE  VERGENNES 
But  how  was  this  dispatch  obtained,  Monsieur? 

STORMOUNT 

It  was  taken  from  Dr.  Franklin's  house  by  a  friend 
of  France  and  England. 

DE  VERGENNES 

A  friend  of  France  and  England  ?     You  mean  a  spy, 
my  lord? 

STORMOUNT 
The  fortunes  of  war,  Monsieur.    But  whether  taken 


1 82  FRANKLIN 

by  a  spy  or  not,  the  facts  are  accurate.  For  the  sake 
of  France  you  cannot  ignore  them.  The  seals  and 
signatures  are  genuine,  read  for  yourself.  "In  spite 
of  all  that  France  has  lent  us  our  resources  are  lower 
than  any  one  has  dreamed,  our  credit  is  at  a  discount. 
Heaven  alone  knows  how  long  it  will  be  before  we 
can  make  financial  readjustment." 

DE  VERGENNES 
(Startled) 
Ha! 

(He  looks  at  paper  closely) 

STORMOUNT 

Will  you  sign  a  Treaty  with  a  country  that  is  bank 
rupt,  tho'  her  plenipotentiary  tries  to  hide  the  fact 
from  you? 

DE  VERGENNES 

Dr.  Franklin,  I  am  forced  to  ask  you,  what  of  this 
statement  ? 

FRANKLIN 

(Tranquilly,  his  hand  on  his  locket) 
Monsieur,  if  France  desires  to  withdraw  from  the 
Treaty  there  are  other  countries  who  will  make  terms 
with  us. 

STORMOUNT 
(Insolently) 

If  this  is  not  an  American  boast,  sir,  name  the 
country. 


FRANKLIN  183 

FRANKLIN 
Your  own,  my  lord. 

STORMOUNT 
(Outraged) 
That's  false! 

DE  VERGENNES 
Lord  Stormount! 

STORMOUNT 

Monsieur,  a  copy  of  this  paper  was  instantly  dis 
patched  to  the  King  of  England.  For  a  week:  his 
Majesty  has  known  what  all  the  world  will  soon  know 
— the  financial  pit  into  which  America  has  fallen. 

FRANKLIN 
(To  Stormount) 

Yet  in  spite  of  that  fact,  your  King  still  covets  the 
advantages  that  America's  future  commerce  might 
bring  him.  I  beg  you  to  peruse  this  letter  from  the 
Baron  de  Weissenstein. 

STORMOUNT 
(Startled) 

The  Baron  de  Weissenstein! 

FRANKLIN 
(To  Vergennes) 
The  diplomatic  name  of  the  King  of  England.    You 


1 84  FRANKLIN 

will  recognize  the  King's  handwriting  and  the  royal 
seal. 


STORMOUNT 
Monsieur,  I  demand  to  know  how  this  letter  came. 

FRANKLIN 

By  a  special  messenger.  Fortunes  of  war,  my  lord. 
It  offers  me  a  place  near  the  King's  person,  honors,  a 
dukedom,  if  I  will  use  my  influence  with  America. 
England  knows  the  prize  she  is  losing.  Would  the 
King  of  England  write  such  a  letter  if  he  did  not  see 
in  America's  future  all  that  France  sees? 

(He  passes  the  letter  to  Vergennes.    Vergennes  and 

Girard  look  at  it) 

I  tell  you,  Messieurs,  opportunity  is  knocking  at  the 
doors  of  France — opportunity  clad  in  rags,  but  with 
the  riches  of  an  undeveloped  continent  behind  her. 

STORMOUNT 
(Shaken) 
A  bankrupt  nation 

FRANKLIN 
(With  power) 

No.  The  chief  part  of  our  nation  has  not  gone 
bankrupt.  I  mean  the  American  spirit,  my  lord.  The 
spirit  your  Hessians  have  come  to  fear,  the  spirit  your 
King  would  make  terms  with  if  he  could ! 


FRANKLIN  185 

(While  Franklin  has  been  speaking  the  letter  has 
been  passed  to  Stormount,  who  reads  it  and 
looks  stunned) 

DE  VERGENNES 
What  have  you  to  say  to  this  letter,  my  lord  ? 

STORMOUNT 

It — it  is  his  Majesty's  writing — it  seems  a  genuine 
document.     I — I  beg  to  withdraw. 
(He  exits,  right) 

DE  VERGENNES 
(To  Franklin) 

Their  Majesties  will  become  impatient.     Have  you 
your  duplicate  of  the  treaty,  Monsieur? 

FRANKLIN 
(Showing  it) 
It  only  lacks  the  signatures. 

DE  VERGENNES 
We  will  announce  your  coming. 

(De  Vergennes  and  Girard  enter  door  at  right  f 
from  which  a  bright  light  streams  out. 
Franklin  and  Richard  follow  them.  The 
door  is  closed.  At  the  same  time  the  doors 
at  upper  right  are  opened  and  the  crowd 
streams  in  again) 


1 86  FRANKLIN 

MME.  DE  CLEARY 

They  haven't  come  in  yet!  How  disappointing! 
Count  de  Vergennes  said  that  the  moment  the  treaty 
was  signed  we  should  have  a  signal  that  no  one  could 
mistake. 

THE  CROWD 
Ah! 

(The  door  at  right  opens.  Bright  light  streams 
out.  A  lackey  stands  at  center  background 
as  if  expecting  a  signal.  Hidden  music  bursts 
into  "Yankee  Doodle"  and  simultaneously  the 
lackey  pulls  the  gold  cord  on  the  suspended 
draperies,  which  fall  and  fill  the  background 
with  the  flags  of  France  and  America.  At 
the  same  time  Franklin  appears  in  the  door 
way  with  the  Treaty  in  his  hand.  He  moves 
toward  left,  the  people  bowing  as  he  passes, 
the  ladies  looking  at  him  and  smiling,  all  save 
Mme.  de  Sarnac  who  drops  her  eyes.  De 
Vergennes  and  Girard  stand  at  door  right. 
Richard  follows  Franklin.  At  left,  for  a 
moment,  they  find  themselves  alone.  Letitia 
has  slipped  her  arm  through  Richard's  and 
stands  with  him.  Dr.  Franklin  reaches  out 
his  hand  to  her,  drawing  her  to  him) 

RICHARD 
(Still  dazed) 

Dr.    Franklin — that   de   Weissenstein    letter — who 
brought  it? 


FRANKLIN  187 

FRANKLIN 

Lord  Rockminster. 

RICHARD 

How  wonderful  that  ft  should  have  come  after  that 
terrible  financial  statement! 

FRANKLIN 
It  didn't. 

RICHARD 
Didn't! 

FRANKLIN 

Always  date  your  letters.     This  particular  letter  is 
many  years  old. 

CURTAIN 


NOTES  ON  HISTORIC  SOURCES 

As  has  been  stated  in  the  preface  to  this  play, 
dramatic  action  has  required  a  certain  amount  of  re 
arrangement  of  historic  events.  In  a  life  as  varied  and 
crowded  as  that  of  Franklin— a  life  passed  in  three 
countries — it  is  impossible  to  touch  on  all  the  per 
sonages  and  all  the  happenings.  Therefore  those  must 
be  selected  which  advance  the  story,  for  as  Mr.  A.  B. 
Walkley  of  the  London  Times  has  recently  said:  "A 
play  must  before  everything  else,  be  a  play." 

The  incident  of  the  de  Weissenstein  letter  has  been 
placed  earlier  in  Franklin's  life  than  was  actually 
the  case.  This  astonishing  document  was  thrown  in 
Franklin's  window  while  Franklin  was  at  Passy.  The 
reply  he  made  to  it  was  the  reply  he  gives  to  Lord 
Rockminster  in  Act  III.  But  such  a  letter,  myste 
riously  thrown  in  a  window,  is  an  incident  that  has 
no  particular  dramatic  import  until  there  comes  a  clash 
of  wills,  and  therefore  it  was  found  expedient  for 
purposes  of  dramatic  motivation  to  have  this  letter 
from  the  King  sent  by  a  messenger  to  whom  Franklin 
could  verbally  reply,  repudiating  the  bribe  in  words 
instead  of  in  writing.  Both  James  Parton  and  John 
Adams  have  a  good  deal  to  relate  concerning  this  par 
ticular  document.  Says  Parton  in  his  Life  of  Frank 
lin,  Vol.  II.:— 

189 


1 90  FRANKLIN 

"On  a  morning  in  June  a  packet  was  thrown  into 
a  window  at  Passy,  which  proved  to  be  a  long  letter 
addressed  to  Dr.  Franklin,  written  in  the  English 
language  .  .  .  and  signed  Charles  de  Weissenstein. 
...  as  Franklin  thought,  a  message  from  the  King 
himself,  certainly  written  with  the  King's  knowledge 
and  consent." 

It  offered  "Offices,  pensions  for  life,  a  peerage"  if 
Franklin  would  desist  in  his  efforts,  and  agree  to 
the  King's  demands. 

In  his  diary,  John  Adams,  in  speaking  of  the  de 
Weissenstein  letter  says: — Dr.  Franklin  "affirmed  to 
me  that  he  knew  it  came  from  the  king:  it  could  not 
have  come  from  any  other  without  the  king's  knowl 
edge—" 

Franklin  wittily  repudiated  the  offer  of  a  peerage, 
which  the  letter  contained,  declaring  it  to  be  "a  tar- 
and-feather  honor." 

As  to  Franklin's  coup  in  the  last  act,  all  biographers 
of  Franklin  hint  at  a  "secret  document"  which  played 
an  important  part  in  the  negotiations.  Jay  speaks  of 
a  "certain  secret  intercepted  document"  and  in  the 
Everyman  edition  of  the  Life  and  Writings  of  Ben 
jamin  Franklin  occurs  this  passage,  already  quoted  in 
the  Preface.  "It  was  then  that  Franklin  quietly  drew 
from  his  pocket  a  piece  of  paper  stating  an  unexpected 
counter  claim,  so  cogent  and  of  such  kind  that,  rather 
than  face  it  or  dispute  it,  the  English  commissioners 
gave  up  their  point  at  once.  .  .  .  On  the  day  follow- 


FRANKLIN  191 

ing  this  masterly  stroke  the  preliminary  treaty  was 
signed,  sealed  and  delivered." 

No  biographer  has  ever  said  what  this  document 
was,  and  for  the  purposes  of  the  play  the  author  took 
the  liberty  of  using  the  de  Weissenstein  letter  as  the 
document  in  question ;  for  the  secret  negotiations  were 
often  given  a  fillip  by  what  can  only  be  termed  the 
prankish  side  of  Franklin's  statesmanship,  which 
cropped  out  again  and  again,  even  in  the  midst  of 
serious  affairs.  Benjamin  Waterhouse,  an  American 
physician,  friend  of  Adams  and  of  Jefferson,  and  kins 
man  of  the  Dr.  John  Fothergill  who  was  one  of 
Franklin's  closest  friends,  relates  with  gusto  the 
following  incident  in  his  Letters  of  Junius,  page 
236. 

"Our  own  countryman,  Dr.  Franklin,  practised  a 
refined  stroke  of  deception  to  benefit  his  country,  by 
imposing  a  newspaper  printed  in  his  own  house  in 
France,  for  one  printed  in  Boston  which  completely 
deceived  the  British  Legation." 

"The  anecdote  is  worth  recording  here." 

"While  the  doctor  was  soliciting  the  government  of 
France  to  form  an  alliance  offensive  and  defensive 
with  the  new  States  of  America,  the  English  Ambas 
sador  near  that  court  sent  a  genuine  Boston  news 
paper  to  the  French  minister  containing  an  account  of 
the  defeat  of  the  Americans  with  great  loss,  which 
statement  was  authentic,  and  retarded  the  negotiations. 
Franklin,  who,  as  every  one  knows,  was  originally  a 
printer,  thereupon  set  to  work  in  his  own  house,  where 


1 92  FRANKLIN 

he  always  kept  complete  printing  apparatus,  and 
directly  printed  a  counterfeit  Boston  newspaper,  con 
taining  advertisements,  anecdotes,  speculations,  and  a 
little  of  everything  common  to  our  public  prints  of  that 
day — together  with  an  official  account  of  a  victory 
gained  over  the  British  troops,  with  loss  of  their  can 
non,  etc.  This  was  sent  to  the  French  Minister,  and 
he  sent  it  to  Lord  Stormount,  the  British  Ambassador, 
who  was  confounded  by  the  sight  of  it." 

Nor  was  this  the  first  time  that  Franklin  had  so 
amused  himself;  for  in  the  Everyman  edition  of  his 
life,  already  referred  to,  there  is  a  description  of  one 
of  his  edicts,  The  Edict  of  the  King  of  Prussia,  on 
page  246.  "This  thing  was  cast  in  the  form  of  an 
exciting  piece  of  newspaper  intelligence,  enclosing  a 
verbatim  version  of  the  alleged  startling  edict.  Scores 
of  well  informed  folk  were  deceived  by  it  for  some 
thing  more  than  a  moment,  and  thousands  were  amused 
for  at  least  a  week." 

.This  goes  to  prove  that  Franklin  was  not  always 
the  solemn  and  stately  figure  of  the  copy  books.  He 
had  a  keen  sense  of  humor,  and  no  one  enjoyed  a 
practical  joke  more  than  he  did,  as  loungers  who 
leaned  too  often  on  the  iron  rails  surrounding  his 
house  in  Philadelphia  learned  to  their  discomfort, 
when  he  secretly  charged  the  rails  with  electricity, 
and  watched  with  amusement  the  inevitable  result! 
There  can  be  no  estimate  of  the  man  which  does  not 
take  into  consideration  this  characteristically  human 
side. 


NOTES  ON  STAGING 

With  simplicity  as  the  keynote  of  what  is  frequently 
termed  "the  new  stage  art"  the  intricacies  of  an 
elaborate  production  have  been  reduced  to  a  minimum. 

At  the  present  writing,  when  railroad  fares  make 
it  almost  impossible  to  send  an  elaborate  production 
on  the  road,  this  simplification,  this  elimination  of  all 
detail,  save  that  which  is  absolutely  necessary,  has  be 
come  an  art  in  itself,  depending  not  on  any  "freak'* 
ideas;  but  on  actual  monetary  conditions.  To  people 
used  to  producing  under  such  conditions,  it  will  be 
seen  at  a  glance  that  the  play  of  Franklin  can  be 
staged  with  two  sets:  The  first,  a  dark  smoke-stained 
brown ;  the  second,  a  neutral  gray.  By  changing  ac 
cessories,  such  as  window  curtains,  cushions,  desks, 
etc.,  this  gray  becomes  gray-and-blue  for  Act  III; 
gray-and-rose  for  the  first  scene  of  Act  IV;  and  gray- 
and-gold  for  the  last  scene,  where  the  arras  of  cloth 
of  gold  (stenciled  with  fleur  de  lis)  is  merely  gilded 
oilcloth  serving  to  hide  the  French  windows  of  a 
previous  scene. 

In  the  theater,  costumically  speaking,  the  i8th 
century  has  been  made  unreal  and  fantastic  through 
too  much  frippery  and  adornment.  Men  did  not  go 
about  their  business  clad  in  suits  of  peach  bloom  satin, 
yet  this  is  what  many  producers  would  have  us  believe! 

193 


194  FRANKLIN 

Richard  Mansfield  was  one  of  the  first  to  give  the 
1 8th  century  a  realistic  setting.  His  production  of 
Bernard  Shaw's  The  Devil's  Disciple  showed  people 
of  the  Colonial  period  sensibly  clothed  in  linens  and 
homespuns.  By  emphasizing  sober  colors  and  plain 
materials  Mansfield  conveyed  an  atmosphere  of  mod 
ernity,  of  actuality.  His  Devil's  Disciple  hardly  seemed 
a  costume  play  in  the  accepted  sense  of  the  word. 
Pictures  of  his  production  are  still  extant  showing  the 
dark-colored  suits  of  the  men,  with  plain  white  stocks, 
combined  with  dark  waistcoats,  ruffles  of  plain  white 
linen,  or  no  ruffles  at  all.  Velvet,  silk,  satin  and  lace 
ruffles  were  for  elaborate  functions  only.  The  women, 
for  ordinary  wear  had  simple  dresses  of  material  much 
like  our  challis.  Powdered  hair  was  for  state  occa 
sions.  Hair  in  its  natural  color  graced  every-day  life. 
The  changing  of  natural  colored  hair  to  a  powdered 
wig,  of  plain  linen  ruffles  to  ruffles  of  lace,  has  an 
incalculable  effect  in  i8th  Century  scenes.  A  touch 
here,  a  touch  there,  will  instantly  heighten  or  diminish 
the  effect  of  a  costume:  will  change  a  personality. 

So  much  for  the  realistic,  every-day  dress  of  the  i8th 
century:  When  it  came  to  elaborate  functions,  where 
the  scene  portrayed  society  en  fete,  that  was  an  entirely 
different  matter — witness  the  peri-wigging  and  cos 
tume  of  the  production  of  Monsieur  Beaucaire.  Yet  a 
recent  production  of  this  play  by  a  local  stock  company 
showed  astounding  ingenuity  in  the  combining  and 
re-combining  of  its  elaborate  costumes.  As  an  example, 
one  white  satin  over-dress  appeared  over  three  different 


FRANKLIN  195 

petticoats,  blue,  pale  rose  and  white-and-silver,  mak 
ing  three  different  costumes;  as  for  the  men,  the  nim- 
bleness  with  which  three  complete  suits  of  white  satin, 
russet  satin  and  black  velvet  were  whipped  into  varying 
combinations,  outfitting  three  different  characters  on 
three  different  occasions  (nine  combinations  in  all) 
left  one  amazed  and  half  incredulous.  To  the  eye  of 
the  average  spectator  it  was  an  elaborate,  multi-cos 
tumed  play:  To  the  eye  of  the  dramatically  discerning 
it  was  a  tour  de  force. 

Yet  one  does  not  need  a  local  stock  company  to  point 
the  way: — Such  productions  as  Bonds  of  Interest  by 
the  Theater  Guild  of  New  York  have  shown  what 
could  be  done  in  the  matter  of  magnificent  costumes 
for  small  expenditure.  In  this  play  the  cloaks  and 
dresses  of  shimmering  green-bronze,  and  red-bronze 
were  none  the  less  lovely  because  they  were  evolved 
by  radiator  bronze  applied  to  such  lustrous  surfaces 
as  oilcloth.  Silver-and-blue  and  rose-and-gold  bro 
cades  were  obtained  by  stenciling  inexpensive  materials. 
Superb  velvet  cloaks  in  somber  shades  were  metamor- 
phized  from  portiere  plush,  and  even  canton  flannel. 
Indeed,  with  the  use  of  the  latter  material  Stuart 
Walker  has  wrought  such  marvels  in  some  of  his 
exotically  costumed  plays  (noticeably  those  by  Dun- 
sany)  that  it  evinces  a  touch  of  the  stage  alchemist. 
This  bespeaks  an  eye  to  both  studio  and  box  office. 
It  is  a  method  which  can  be  applied  to  any  century, 
and  particularly  to  the  i8th. 


DUPLICATION  OF  CHARACTERS 

The  play  of  Franklin  can  be  produced  with  a 
cast  of  fourteen  characters  if  the  following  duplications 
are  made: 


MRS.  ROGERS .DUCHESS  DE  CLEARY 

GREENIE MR.  BRADLEY 

SAMUEL  KEIMER COUNT  DE  VERGENNES 

POTTS  PARTON 

LORD  ROCKMINSTER LORD  STORMOUNT, 

SIR  WILLIAM  KEITH MR.  KNOX 

GREENIE MR.  MURRAY 

AUSTIN  RICHARD  AUSTIN 


197 


BY  CLAYTON   HAMILTON 

Each  book  fully  indexed.    12mo. 

PROBLEMS  OF  THE  PLAYWRIGHT 

Building  a  Play  Backward;  Surprise  in  the  Drama;  The 
Troublesome  Last  Act;  High  Comedy  in  America;  The  George 
M.  Cohan  School  of  Playrights;  Middle  Class  Opinion;  Criti 
cism  and  Creation  in  the  Drama;  Dramatic  Talent  and  Theat 
rical  Talent  j  The  Plays  of  Lord  Dunsany;  Romance  and 
Realism  in  the  Drama;  Scenic  Settings  in  America;  The  New 
Stagecraft;  The  Non-Commercial  Drama;  A  Democratic  Insur 
rection  in  the  Theatre;  A  Scheme  for  a  Stock  Company;  What's 
Wrong  with  the  American  Drama,  etc.,  etc. 

Prof.  Brander  Matthews,  in  the  Bookman:  .  .  .Mr.  Hamilton  and 
Mr.  Archer — like  Lessing  and  like  Sarcey — have  a  broad  background  of 
culture.  .  .  .  They  never  stray  into  the  dusty  paths  of  pedantry.  .  .  . 
Consistently  interesting  because  it  has  the  support  of  knowledge  and 
the  savour  of  individuality." 

STUDIES  IN  STAGECRAFT 

The  New  Art  of  Making  Plays,  The  Pictorial  Stage,  The 
Modern  Art  of  Stage  Direction,  A  Plea  for  a  New  Type  of 
Play,  The  Undramatic  Drama,  The  Supernatural  Drama,  The, 
Irish  National  Theatre,  Where  to  Begin  a  Play,  A  New  Defense 
of  Melodrama,  The  Art  of  the  Moving-Picture  Play,  The  One- 
Act  Play  in  America,  Organizing  an  Audience,  etc.,  etc. 

Nation:  "Information,  alertness,  coolness,  sanity  and  the  command 
of  a  forceful  and  pointed  English.  ...  A  good  book,  in  spite  of 
all  deductions." 

Prof.  Archibald  Henderson,  in  The  Drama:  "University  excellent  in 
quality.  .  .  .  Continually  interesting  in  presentation  .  .  .  uniform  for 
high  excellence  and  elevated  standards.  ..." 

THE  THEORY  OF  THE  THEATRE 

What  is  a  Play? — The  Psychology  of  Theatre  Audiences. — 
The  Actor  and  the  Dramatist. — Stage  Conventions  in  Modern 
Times. — The  Four  Leading  Types  of  Drama. — The  Modern 
Social  Drama,  and  Other  Principles  of  Dramatic  Criticism. — 
The  Public  and  the  Dramatist. — Dramatic  Art  and  the  Theatre 
Business. — Dramatic  Literature  and  Theatric  Journalism. — 
Pleasant  and  Unpleasant  Plays. — Themes  in  the  Theatre. — The 
Function  of  Imagination,  etc.,  etc. 

Bookman:  "Presents  coherently  a  more  substantial  body  of  idea  on 
the  subject  than  perhaps  elsewhere  accessible. 

Boston  Transcript:  "At  every  moment  of  his  discussion  he  has  a 
firm  grasp  upon  every  phase  of  the  subject." 

HENRY    HOLT    AND    COMPANY 

PUBLISHERS  NEW  YORK 


SEEN  ON  THE  STAGE  by  Clayton  Hamilton 

The  fourth  of  this  noted  critic's  books  on  the  con 
temporary  theatre  covering  a  wide  range  of  plays  and 
authors  including  O'Neill,  Dunsany,  Ervine,  Drinkwater, 
Shaw,  Tolstoy,  etc.,  etc. 

Brander  Matthews  in  New  York  Times:  "His  four  volumes 
of  collected  dramatic  criticisms  are  not  unworthy  to  be  set  on 
the  shelf  by  the  side  of  Lemaitre's  'Impressions  de  Theatre' 
and  Faguet's  'JPropos  de  Theatre.'  His  preparation  for  dra 
matic  criticism  is  exceptionally  ample.  He  adds  also  the  other 
three  qualifications  which  a  critic  ought  to  possess — insight  and 
sympathy  and  disinterestedness.  These  plays  are  vital  and 
vivid  in  Mr.  Hamilton's  pages." 


TOLD  IN  A  CHINESE  GARDEN  AND 
OTHER  PLAYS  by  Constance  G.  Wilcox 

For  Outdoors  or  Indoors.  They  also  include  Pan 
Pipes,  Four  of  a  Kind,  The  Princess  in  The  Fairy  Tale 
and  Mother  Goose  Garden 

Evening  Post:  ".  .  .A  welcome  contribution  to  the  litera 
ture  of  the  Little  Theatre.  Whimsical,  imaginative,  pictorial. 
.  .  .  An  author  of  promising  originality,  taste  and  style.  ..." 

The  Drama:  ".  .  .  Treasures  to  the  seeker  for  suitable 
dramas  for  the  open  .  .  .  highly  dramatic  and  fresh.  ..." 


THE  LIGHT  OF  THE  WORLD 

by  Guy  Bolton  and  Geo.  Middleton 

A  drama  showing  what  befell  a  Passion  Player  who 
tried  to  live  as  Christ  might  were  he  on  earth  today. 

Springfield  Republican:    "A  real  addition  to  the  literature  of 
our  contemporary  stage." 

San  Francisco  Chronicle:   "Unusually  interesting  .   .   .  written 
in  a  tone  of  reverent  realism  .    .    .  full  of  dignity." 

HENRY  HOLT  AND  COMPANY 

19  WEST  44TH  STREET  NEW  YORK 


BY     CONSTANCE     D'ARCY     MACKAY 

THE  LITTLE  THEATRE  IN  THE  UNITED  STATES 

Illustrated.    With  index.    Large  12mo. 

COSTUMES  AND  SCENERY  FOR  AMATEURS 

With  numerous  illustrations  and  index.    Large  12mo. 

HOW  TO  PRODUCE  CHILDREN'S  PLAYS  $1 35 


PLAYS 
THE  BEAU  OF  BATH  and  Other  One- Act  Plays 

The  Silver  Lining,  Ashes  of  Roses,  Gretna  Green,  Counsel 
Retained,  The  Prince  of  Court  Painters.  Plays  for  amateurs 
and  for  Little  Theatres.  With  illustrations  after  Reynolds, 
Humphrey  and  Romney. 

THE  FOREST  PRINCESS  and  Other  Masques 

The  Gift  of  Time  (a  Christmas  Masque),  A  Masque  of  Con 
servation.  The  Masque  of  Pomona,  A  Christmas  Masque,  The 
Sun  Goddess,  A  Masque  of  Old  Japan,  The  Revival  of  the 
Masque,  supplemented.  b^j>apers  on  Costumes  for  Masques  and 
Music  for  Masques. 

PATRIOTIC  PLAYS  AND  OTHER  PAGEANTS 

The  Pageant  of  Patriotism  and  The  Hawthorne  Pageant. 
Both  are  given  in  versions  for  outdoor  and  for  indoor  per 
formance,  and  arranged  so  that  they  can  be  split  up  into  short 
plays. 

THE  HOUSE  OF  THE  HEART 

Short  plays  in  verse  for  children  of  fourteen  or  younger: — 
The  House  of  the  Heart  (Morality  Play),  The  Enchanted  Gar 
den  (Flower  Play),  A  Little  Pilgrim's  Progress  (Morality 
Play),  A  Pageant  of  Hours  (to  be  given  out  of  doors),  On 
Christmas  Eve,  The  Princess  and.  the  Pixies,  The  Christmas 
Guest  (Miracle  Play),  etc. 

THE  SILVER  THREAD  and  Other  Folk  Plays 

The  Silver  Thread  (Cornish),  The  Forest  Spring  (Italian), 
The  Foam  Maiden  (Celtic),  Troll  Magic  (Norwegian),  The 
Three  Wishes  (French),  A  Brewing  of  Brains  (.English)^ 
Siegfried  (German),  The  Snow  Witch  (Russian). 


HENRY     HOLT      AND      COMPANY 

PUBLISHERS  NEW  YORK 


TWO  BOOKS  BY  CONSTANCE  D'ARCY  MACKAY 


COSTUMES  AND  SCENERY  FOR  AMATEURS 

A  Practical  Working  Handbook  with  over  70  illustrations  and 
full  index.  258  pp.  i2mo. 

A  book  that  has  long  been  needed.  It  concludes  chap 
ters  on  Amateurs  and  the  New  Stage  Art,  Costumes,  and 
Scenery,  but  consists  mainly  of  simple  outline  designs  for 
costumes  for  historical  plays,  particularly  American 
Pageants,  folk,  fairy,  and  romantic  plays — also  of  scenes, 
including  interiors,  exteriors,  and  a  scheme  for  a  Greek 
Theatre,  all  drawn  to  scale.  Throughout  the  book  color 
schemes,  economy,  and  simplicity  are  kept  constantly  in 
view,  and  ingenious  ways  are  given  to  adapt  the  same 
costumes  or  scenes  to  several  different  uses. 

HOW  TO  PRODUCE  CHILDREN'S  PLAYS 

The  author  is  a  recognized  authority  on  the  production 
of  plays  and  pageants  in  the  public  schools,  and  combines 
enthusiastic  sympathy  with  sound,  practical  instructions. 
She  tells  both  how  to  inspire  and  care  for  the  young  actor, 
how  to  make  costumes,  properties,  scenery,  where  to  find 
designs  for  them,  what  music  to  use,  etc.,  etc.  She  pre 
faces  it  all  with  an  interesting  historical  sketch  of  the 
plays-for-children  movement,  includes  elaborate  detailed 
analyses  of  performance^  of  Browning's  Pied  Piper  and 
Rosetti's  Pageant  of  the  Months,  and  concludes  with 
numerous  valuable  analytical  lists  of  plays  for  various 
grades  and  occasions. 

New  "York  Times  Review:  "It  will  be  useful  .  .  .  practical 
advice." 

Magazine  of  General  Federation  of  Women's  Clubs:  "There 
seems  to  be  nothing  she  has  forgotten  to  mention.  Every  club 
program  chairman  should  have  it." 


HENRY     HOLT     AND     COMPANY 

PUBLISHERS  NEW  YORK 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 
BERKELEY 

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